Does the Zoom F8 have higher pre-amplification than the FR2-LE?

[Paul R Johnson]

The thing we're all thinking is that even if you studied Direction (which you seem to be a littler, er, weak on if that was the core modules) surely you spent time with the people do cameras, lighting, editing and audio? It really must have been a questionable course to have missed so many core areas for a Director and taught nothing about anything else.

I'm not being funny, but I really cannot imagine how your questions over the past months have been answered by us because your course didn't provide the info. That is shameful. It didn't prepare you for directing at all? It seems to have been a film studies course, because you are a master at analysing movies and have a huge knowledge of the content of so many movies. I have to look up most of your examples.

All the knowledge you seek is available - why don't you spend some time researching mic pre-amp gain. It's quite interesting.

[Ryan Elder]

Well the course covered a lot of directing when it comes to planning and storyboarding and working with the DP as well as how to operate the video equipment yourself, but it didn't go so much into how to psychologically pull performances out of the actors.

[Brian Drysdale]

Many of the film courses around aren't that good, there are only a handful of places in the world that run courses are really worth doing for working in high end productions and these now tend to be post graduate. I know film/media students who, after graduating, look to get onto industry training schemes, so that they can work as trainees on various productions as their next step.

You need to do more than the basic course work, that they don't teach something isn't an excuse, there are plenty of books and other resources on pulling performances from actors. There are now more books available than there has ever been, so you shouldn't need to listen to what people around you say, you can find out what some of the top people in the industry say are the best working practices.

I recall going to an industry film quiz in Dublin and the team that won wasn't the directors or producers, it was the 1st camera assistants (called focus pullers in the UK).

[Greg Miller]

Originally Posted by Pete Cofrancesco

For Ryan out loud.

Ya know, I like that. He's already hiding behind an alias. I think we should give him a third name: Ryan Outloud.

[other comments deleted by OP]

[Pete Cofrancesco]

I don't think Ryan realizes it but he pretty much embodies the film school mentality. Lots of theory and classical movie study that leaves students ill prepared for the real world. This in turn leads to the sort of questions we all do our best to answer without losing our minds.

[Chris Hurd]

Originally Posted by Greg Miller

He's already hiding behind an alias.

He is not hiding behind an alias.

For clarification, please refer to https://www.dvinfo.net/forum/open-dv...ml#post1951811 (posts #131 through #133).

Hope this helps,

[Ryan Elder]

Originally Posted by Brian Drysdale

Many of the film courses around aren't that good, there are only a handful of places in the world that run courses are really worth doing for working in high end productions and these now tend to be post graduate. I know film/media students who, after graduating, look to get onto industry training schemes, so that they can work as trainees on various productions as their next step.

You need to do more than the basic course work, that they don't teach something isn't an excuse, there are plenty of books and other resources on pulling performances from actors. There are now more books available than there has ever been, so you shouldn't need to listen to what people around you say, you can find out what some of the top people in the industry say are the best working practices.

I recall going to an industry film quiz in Dublin and the team that won wasn't the directors or producers, it was the 1st camera assistants (called focus pullers in the UK).

Oh okay thanks. Right now I am reading Directing Actors by Judith Weston.

[Josh Bass]

Excellent.

[Ryan Elder]

Originally Posted by Pete Cofrancesco

I don't think Ryan realizes it but he pretty much embodies the film school mentality. Lots of theory and classical movie study that leaves students ill prepared for the real world. This in turn leads to the sort of questions we all do our best to answer without losing our minds.

Oh but isn't it good to study movies and how they were done as well though? I feel like somethings, not everything, but some things, I like more from watching movies I like, compared to what we learn in class to an extent. Or I guess I just felt the class had a very standard way of making the movie, where as I want to go outside the box and explore other options of what can be done, and what not.

[Brian Drysdale]

Studying the movies is good, but there is a difference between reading the text and writing the text and it's the latter that you seem to be having difficulties with.

Trying to go outside the box is a good thing, but somehow you seem to be caught in the cardboard.

It might be worth going to a workshop for people in the industry. However, these aren't cheap and the quality can be variable, so care needs to be taken in selecting them, since some are for wannabes, rather than people at various stages of their careers. I know some in the past were very good, with people coming from all over the world to attend the workshops, often with Oscar winning tutors.

I attended a one week HD workshop in LA and one of the assistants, who was a US film student, said she learnt more in one week at the workshop than she did in a year at college.

[Paul R Johnson]

We've done a topic swap here - somehow the directing topic comments are now in the preamp gain setting topic?

That book - by the way - is a decent one to take on board.

[Ryan Elder]

Originally Posted by Brian Drysdale

Studying the movies is good, but there is a difference between reading the text and writing the text and it's the latter that you seem to be having difficulties with.

Trying to go outside the box is a good thing, but somehow you seem to be caught in the cardboard.

It might be worth going to a workshop for people in the industry. However, these aren't cheap and the quality can be variable, so care needs to be taken in selecting them, since some are for wannabes, rather than people at various stages of their careers. I know some in the past were very good, with people coming from all over the world to attend the workshops, often with Oscar winning tutors.

I attended a one week HD workshop in LA and one of the assistants, who was a US film student, said she learnt more in one week at the workshop than she did in a year at college.

Oh okay, well is my weaknesses the performance and the choice of shots, as before mainly, or is there anything else I need to work on?

[Brian Drysdale]

You really need to work on everything required to direct, there's no room for weaknesses when directing, especially with inexperienced crews.

[Ryan Elder]

Ok but i was told before that i was wearing too many hats and to get cast and crew that are more experienced to cover their areas of expertise more, if thats true?

[Paul R Johnson]

Just a shame the new production doesn't follow that rule. You seem to swap happily between 'they' and "I" or 'We".

When you fill in a form, what do you put in the box "occupation"?