pleased to hear you are out there DOING it. It's totally the way I believe. Keep at it!! Phil

Ok thanks.

I'm definitely staying tuned. And since I found the show on iTunes now I will even receive it on my iPhone, may I miss it in my Vimeo-subscriptions. (Which I find very unlikely.)

Keep up the good work!

Yes....I agree with Phil offer your services for free it really works you can learn so much. I can vouch for this and immerse yourself in films, read, watch, learn, and dissect films by people that inspire you. Learn techniques from books, courses everything, and join Philip’s competition…and use the internet as it’s free, and it’s great for exposure. and then you can build yourself look at what I am doing londonmarkfilms.com I am changing my life after many years in business to something I truly love and enjoy.

OK, in a nutshell here it is. Yes, we have 5 cameras, they all have operators, 4 cameras are stationed in or around the four corners of our stage, then we have a dolly on track wrapping around the table and chairs. The tricky part is the dolly can be blocking one or two cameras at any one time, so you need to have a good reaction shots to cut to. We roll all of the cameras once and I clap my hands for a sync point. All of the cameras are put into Final Cut and aligned to the sync point. The editor edits the show carving the stories from what is said. When we finish the dialogue bed the you can literally switch the show live with the multi-cut feature in Final Cut picking the shots that are best for each particular moment. The interesting thing is that every shot, every reaction you see is really what happened at that moment.

Yes, funny about the food. When we shot these episodes everyone was so enthralled with each other that I don't think anyone ever realized there was food.

Starting with webisode 5 most of the NEW cast wolfed the food down before we even started, they showed up hungry and thought we were really having lunch.

We tested it and it's kind of gross seeing people shot in a CU and watching and hearing them eat food. The food is kind of pretty to look at, so having it all missing would lose something.

John, definitely. I think the most important thing, film school or not, is that you have to physically get your hands on equipment, get out there and keep shooting. The barrier to entry is getting smaller as far as camera costs are concerned, however it is still a significant amount to shoot with equipment close to what the pros are using today. If its school, a friend, interning, volunteering whatever way is available that lets you get some hands on time with experienced people is, in my opinion, a viable avenue.

Thanks Steve. I agree with you 100%. If you can get it use it!

am not old school Dan but am over 35!!

hah - that specific comment wasn't directed at you : )

Actually, Dan I was the one that made that comment. But I may have to recant it after watching your work. You are definitely a shooter and yes, I would love to work with you. I was trying to make a point, although sometimes I tend to go overboard. The point being that experience is important. I’m 46 years old and literally never had the options to make a movie in the 1980’s and 90’s. A bit jealous of you younger folks but also trying to make a point. A lot of young filmmakers are shooting films which don’t really give you daily experience of shooting, editing, etc. The point is get out and do other things along with your films and try to earn your total living with whatever kind of film/video work you can get. This to me is far superior to working a day job and making a movie once a year. Thank you for allowing me to clarify. I hope you can hang in there, we go to some crazier places in the upcoming webisodes.

Steve - all good my man! i totally respect you along with this series, i think it's great & am looking forward to future episodes ... i might have come off a little rude earlier, so i apologize if what i said came off snappy. Because of age, i feel some people "put you in a box" and it's a stereotype that i hope one day will shatter, but to your credit, age = experience ... (or number of years working we should say)

it's often that with first time clients, i'll purposely push BACK face to face meetings until i get a deposit because when people see a young face, their first reaction is "whoa, he's a kid". I get that, I'm not dumb, it's part of the game. i think what you guys said it best in this episode "let me see your reel" is really what should count regardless of age, resume, school, etc.

Reel is everything. I think we agree on that! Please keep these videos going ... looking forward to more!

VERY respectively,

dd

Dan, you remind me of a young ambitious kid in the early 1980's. Here a fun story along these lines. My producer and I were doing fashion videos (to be precise: 9 projector multi-image slide shows) for Christian Dior. Before video projection many companies opted for multi-image slide shows for projection at runway shows and conventions. The were very cool you could do effects and it was all automated to a click track on the soundtrack. Sounds primitive, but the resolution was "FILM" and fashion companies didn't like how the garments looked on video. I'm going to try to find one of these shows that we transferred to video and post it on vimeo.

So we originally sold Christian Dior's mens suits on doing this cool kind of 1940's film Noir look, because that was the look of the line that year. After a year of doing shows for them they told us they wanted to have a more hip modern feel for their line, so we were cool with that. But the head designer said they wanted to hire some young guys to do it instead. I was like, "I am a young guy", being 25 years old, but was perceived as the dude in the 1940's. So you are correct, age is not really what I should have said. Experience will be my new word.