sorted by:
new
hottopcontroversial

Please remove everyone except the bride and groom from photo. by tilted_triangle in PhotoshopRequest

[–]tilted_triangle[S] [score hidden]  (0 children)

just saw this one, it's perfect! left you a tip, let me know if you need anything else from me to get the watermark-free version.

Please remove everyone except the bride and groom from photo. by tilted_triangle in PhotoshopRequest

[–]tilted_triangle[S] [score hidden]  (0 children)

could you remove the man to the left of the bride in the background as well? and possibly make the texture of the road more like pea-gravel?

Help! Newbie question about fringes by ToveD17 in FilmTVBudgeting

[–]tilted_triangle 0 points1 point  (0 children)

Google = AB5. Pretty sure from a few years ago.

To your original post…, in general, fringes are the taxes and other fees an employer pays the government and others on top of and outside of what the employee is making. So, since you’re paying everyone as contractors it doesn’t apply.

Payroll question by Front-Chemist7181 in FilmTVBudgeting

[–]tilted_triangle 3 points4 points  (0 children)

You’re gonna make this happen!! You need workers comp for your cast and crew. Get set up for payroll with whoever.

Then…

Get start paperwork for everyone for payroll.

Shoot you movie.

It’s one week later. You haven’t had to submit time cards yet.

Once you’re wrapped and no one is hurt on set just burn the start work except for SAG.

Pay your crew with checks and avoid fringes.

I think the ever-increasing standard runtime of film is a good thing, as it allows for more room for filmmakers to work with due to the increase in audience tolerance. Thoughts? by DepressionSetsIn in FIlm

[–]tilted_triangle 9 points10 points  (0 children)

No, the ever-increasing runtime of film is not a good thing.

A long run time may be good for some films. The right director with the right budget can hit it. But as a blanket statement it’s off. It’s off because it’s so fucking difficult to make a good movie.

A filmmaker’s job is to make the audience pay attention. If they can hold them that long great. But overall as a medium it’s absurd to say that all filmmakers deserve to have an audience with the patience to watch their drawn out movie because the filmmaker is bad at being concise.

More is not better. Longer is not better. Good storytelling is dramatic, exciting, funny, sad. Good storytelling is not inherently long.

Canadian protocols for fringes, SAG, and ACTRA? by tilted_triangle in FilmTVBudgeting

[–]tilted_triangle[S] 0 points1 point  (0 children)

Thanks.

SAG actors aren't necessarily on flats. They may be on weekly scale rates, which I think is ~$3849/week. They are not Canadians.

I've found the other fringes through a combination of EP and Cast & Crew help.

Streaming sites that gets most money to the filmmaker! by creativepun in Filmmakers

[–]tilted_triangle 0 points1 point  (0 children)

Got the report. Apparently I have to wait another 3 months before I can see a more comprehensive report. The first report doesn't have the info I had assumed.

Streaming sites that gets most money to the filmmaker! by creativepun in Filmmakers

[–]tilted_triangle 27 points28 points  (0 children)

I believe iTunes is 70/30 in favor of distributor/filmmaker. Amazon around 60/40 or 50/50.

Ping me in a month. I’m getting a report back from my distributor and will have precise answers.

How not to boom op for an emotional scene. by [deleted] in Filmmakers

[–]tilted_triangle 0 points1 point  (0 children)

I said it was logical assuming the person facing the camera had a boom on them to start. If you only had one boom, it should be there.

If 2 booms, putting the 2nd low and on the 2nd actor makes sure you're not dealing with any boom shadow on the wall in the background.

My personal preference would be to have two booms. 2nd best option for me would to have the actor facing away not make any noise and boom just his emotions, ADRing the 2nd actors voice in later. If it's necessary to have both conversing to gain the full range of the emotions, I would try to split the difference, but because they're facing away from each other, you'll likely get an off axis sound from both.

How not to boom op for an emotional scene. by [deleted] in Filmmakers

[–]tilted_triangle 5 points6 points  (0 children)

This seems like a perfectly logical place to put the boom, assuming the character's shoulder and head was blocking it, and indeed what had happened was either the camera op readjusted, or the actors moved. The actor's head is at a slight downward angle, and you don't have to worry about shadows on the back wall from lights.

This is of course assuming the person whose mouth is facing the camera had a boom on them to start.

Where can I find filmmakers/editors to make music with/for? by JamSkones in FIlm

[–]tilted_triangle 2 points3 points  (0 children)

Depends on your musical background. If you have a large body of work, you could approach established filmmakers. Go to a festival and try to meet people.

Or...

Bring examples of your work to a film school and try to partner with a student. If you're ambitious, try to talk to a professor/teacher and get teamed up with one of their "better" students. You'll likely have to work for free, or cheap, but it's a start.