How does a filmmaker decide which aspect ratio to shoot in?

Ryan Elder · August 11th, 2019, 12:59 AM

Yeah I know the money is gambling but it seems that so many other filmmakers have had to do it for their firsts, that it's just an unfortunate but normal risk.

I don't them to make all the decisions, I have all the shots and blocking almost all storyboarded out now. I just want to be able to say to the cast and DP will this work, to make sure it all works. But all the shot and blocking ideas are still mine, right?

But perhaps the script and storyboards will determine whether or not the talent will think it will work or not and if they wanna line up or not. So perhaps I will know if the production will turn out good likely, depending on what actors and crew think of it, when I pitch it to them?

Brian Drysdale · August 11th, 2019, 01:26 AM

If you really want to, no one can stop you from making a feature film. The budget you have is low, but it depends on the nature of the film and the people you've got involved how good it will be and if you've got sufficient funding .

For a low budget film you should spend a LOT of time developing the script, writing as many drafts as it needs.

Sending it off to get feedback from a good script editor is money well spent, allow at least a year for the script development.Time is one of the best script editors. One first time writer/director applied this ruthlessly and their film got into Sundance.

During that time go on an acting course, because nothing lets a film down more than wooden acting. Life drawing is also worth doing, it means you can draw the storyboard directly without using a program. It also teaches you to look and see things.

Don't try rule breaking if you don't understand it. Get the emotions from the actors, not by breaking the 180 rule to "reveal something", the actors can do that better than you can. It doesn't matter if some feature film has done it, the important thing is what is right for your film.

In the end, bear in mind that you will probably lose the money, so the most you will get out of it is experience and some hard lessons. Making a feature film will be more time consuming than you think, especially if you want to have a reasonable quality product and it will push you to your limits.

Professional directors work for years before they make their first feature and they've worked on bigger productions than your shorts. It depends on the stage that you're at when going for your first feature, at the moment in your case. it feels like a vanity project (doing a feature film), rather than a subject you feel passionate about. Producers also need to feel passionate about projects because they know they'll spend years trying to get the film funded, made and marketed. plus all the legal paper work involved. "One Flew Over the Cuckoo's Nest" took over 10 years to get made.

Ryan Elder · August 11th, 2019, 01:41 AM

Oh okay, I would say I'm very passionate about it, otherwise I wouldn't risk the money.

I've tried getting on other shoots, but have only been on the ones I've been on over the years.

I want to make it as good as possible for sure. I thought about co-directing so another director can direct the actors, where as I would make all the more technical decisions, such as the cinematography and shots. However, it seems that some say that co-directing is usually a bad, if that's true?

Paul R Johnson · August 11th, 2019, 01:41 AM

You need to to be very careful on this one Ryan. You cannot ask "will it work"? What if they say no? It's fine to ask for suggestions, it's good to consider them. It's very good for the cast an crew to feel valued, but the question is also linked to another. How much do you trust them.

Have a think about this one of mine from Friday. A stage crew had not had time after a busy day to put away the risers they had been using for a show the night before. There was a drum riser, and another a little lower, used by the brass section. They are heavy, and when collapsed very awkward to move, and frequently trap fingers. The incoming show had drums and a percussion section. They asked if they needed risers, as they had not been requested. The incoming show said "we don't normally, but do you think they'd look good?" To a man, the crew said they'd look really good. The person in charge looked happy - they used them.

It looked awful, because with this shows layout, there was no need for them, and worse, one of their people wasn't too good on his legs, and getting up there wasn't easy.

The lighting people were very happy, because the lighting installed the day before was now exactly in the right place and that was even less work.

At the end of the show, I made the crew put every single bit away, and reset the lighting. They pleaded that the next show in might want them - but I wasn't having it. I didn't overuse them in front of the clients, but their comments were not what was best, but what was best for them.

It's your money Ryan, but let's face it. Some of the advice you have had from these people has been terrible, clearly wrong, and you must ask yourself how much you trust their opinions - my reading is that they are taking advantage. This is important to you. To them, is it just a bit of work, and the end result unimportant.

A good little tip. Have any of the crew asked about their billing in the credits? Maybe wanting to have a better credit than really fair? Somebody wanting 'supervisor' or 'Manager' in their credit, when they were really supervising themselves? a team of one. Have any of them looked a bit shocked at the pay, but then wanted to do it anyway? Will any of them turn up early, or at exactly the call time? Are any of them doing your production because they've nothing better paying in the diary? Do not expect artistic comment from them - they will want the easiest life they can get. All their judgement calls are based on impact to them. If you ask if we should shoot just one more, will bring back the group decision - NO, it was fine.

You have endless enthusiasm, but no awareness of people management, and I am not sure about your attention to detail. Some of the stuff you ask, you must already be aware of, and just want our nodding heads to reinforce your own judgement. This isn't the way to spend money.

Ryan Elder · August 11th, 2019, 01:56 AM

Oh okay, well is there anyone a director can consult if all the shots and blocking and acting will work then?

As for what if they say no, then that's good, and we can come up with a new shot, or new blocking that works then instead, no?

Brian Drysdale · August 11th, 2019, 02:03 AM

Do you really want to be a director if you're leaving dealing with the actors to someone else while you select the shots?

There are lots of cases of theatre directors who successfully make a first feature film because they know how to direct actors, while the shots are mostly worked out by the DP. It doesn't usually work the other way round and if could be the cause of conflict and given your questions, I suspect may risk being pushed off directing your own film and effectively becoming the writer/producer.

Ryan Elder · August 11th, 2019, 02:07 AM

Oh okay, I just felt it could be worked out the way around, since theater directors do it that way sometimes.

I feel that since I want to get into directing though, that I might as well direct it though. I feel that my ideas to make things easier are always thought of as bad ideas though. Like I suggest co-directing, so someone else can take a load off, and others say it's not a good idea. But what I am suppose to do then, if the best option is to be full on director deciding everything without any input from anyone?

Brian Drysdale · August 11th, 2019, 02:19 AM

You don't seem to understand the director's role, they will be getting "suggestions" and "advice" from various people. It's their job to select, steal, adapt, ignore or otherwise the crew and cast inputs. as required. to create their vision of the story.

A director has to make decisions.

Ryan Elder · August 11th, 2019, 02:26 AM

Okay but I made decisions on my previous shorts, so I am capable of doing that, aren't I?

Brian Drysdale · August 11th, 2019, 02:58 AM

You should've finished with a full stop before "aren't I?"

Paul R Johnson · August 11th, 2019, 06:38 AM

Only you know Ryan, but your responses in every thread are the same - you have a problem, and use the phrase, "I've been told" and often they told you complete rubbish. You then try to second guess everything. You say, "so what you're saying is..." and we say no, we're not saying that. we point things out and instead of discussing them you say, thank you - then move on and we're always concerned you misunderstood, or didn't get it. We try to help, and spend considerable time doing this - but when we point out something wrong, you frequently say the actor wouldn't;t do it, or yes, it's bad, but you had to rewrite in a hurry, and you make excuses to justify the errors. This is really bad for a film maker with keenness but no understanding of people, or proper planning. You see a problem and capitulate. Months ago, we tried to help with your mic booming. Be honest, how many times have you gone out with a recorder and boom and your headphones and practiced improving your skills? Your aspect ratio question, millions of pages back - have you actually been out to some of your locations and shot the same scene in the ones you are considering? Have you viewed them and decided which is a possible and which is out? On the location front - is you feature location ready? You chose the most bizarre second best location for the one we watched, could anywhere have been worse? Surely there was a plan, with a plan B location, or even a plan C?

You don't seem to learn - which is such a shame as you are so keen. You don't check. You don't review, you are reactive, not proactive. Why did your location fail on shooting day? We have zillions of questions, but you rarely have answers. I know it must feel like we're negative, but proper planning of the smallest details is what makes a good movie - the tiny details.

Please tell us you have decent actors. They're the key to success. If you had to give them an A to E grade, using a professional movie actor as the best with the A, where do they come. Let's use the Hanibal Lecter character as the A. Forget Anthony Hopkins - the Lecter character. Real acting, Hopkins IS Lecter. The girl ij your example. Her acting is dire. She has no characterisation at all. We see the actress playing herself. Anthony Hopkins is acting, She's reciting lines and standing unnaturally, and while she could be worse, on my scale A-E, she's probably a D. How many D people are on your call sheet?

We started with aspect ratio - and the answer from the hundreds of posts is simple - the filmmaker picks the most appropriate aspect ratio. We then opened up to all sorts, and in a way, what we're doing is talking about movie 'quality', and amateur film making, where the end product is the Holy Grail, but the slope up to it steep, and full of pot holes.

Do you see this?

Please do not reply starting "Oh OK" because this tells us you dismissed it all again, and didn't learn anything

Low budget does not mean low production standards. You have lofty goals, but a team who have none of your enthusiasm, or interest. Dealing with actors isn't hard. They're babies, and have needs. The need to be appreciated. The need to be mollycoddled. The need to feel good, and the need to feel superior because their personalities are fragile. The actor manager needs to understand all this, and mop the brows, make the tea, make subtle suggestions and be very, very clever to get your own way - making them feel they did it, when it was you.

They are often children. I've had to have a conversation with a distressed female about what to do with a suppository - doctor gave it to them, but they didn't know it wasn't to be swallowed. I've had one walk into the rehearsal, sit on the chair, miss it and dislocate their shoulder, and deal with that. I've had fits (medical ones and temper ones), I've had domestics to sort, I've been up till 2am reading in so they could learn lines, I've had to advise on skirt lengths and point out things they cannot do.

You are too young I think to know how to deal with all this rubbish - but you need to start learning.

Ryan Elder · August 11th, 2019, 10:36 AM

Quote:

Originally Posted by Paul R Johnson

Only you know Ryan, but your responses in every thread are the same - you have a problem, and use the phrase, "I've been told" and often they told you complete rubbish. You then try to second guess everything. You say, "so what you're saying is..." and we say no, we're not saying that. we point things out and instead of discussing them you say, thank you - then move on and we're always concerned you misunderstood, or didn't get it. We try to help, and spend considerable time doing this - but when we point out something wrong, you frequently say the actor wouldn't;t do it, or yes, it's bad, but you had to rewrite in a hurry, and you make excuses to justify the errors. This is really bad for a film maker with keenness but no understanding of people, or proper planning. You see a problem and capitulate. Months ago, we tried to help with your mic booming. Be honest, how many times have you gone out with a recorder and boom and your headphones and practiced improving your skills? Your aspect ratio question, millions of pages back - have you actually been out to some of your locations and shot the same scene in the ones you are considering? Have you viewed them and decided which is a possible and which is out? On the location front - is you feature location ready? You chose the most bizarre second best location for the one we watched, could anywhere have been worse? Surely there was a plan, with a plan B location, or even a plan C?

You don't seem to learn - which is such a shame as you are so keen. You don't check. You don't review, you are reactive, not proactive. Why did your location fail on shooting day? We have zillions of questions, but you rarely have answers. I know it must feel like we're negative, but proper planning of the smallest details is what makes a good movie - the tiny details.

Please tell us you have decent actors. They're the key to success. If you had to give them an A to E grade, using a professional movie actor as the best with the A, where do they come. Let's use the Hanibal Lecter character as the A. Forget Anthony Hopkins - the Lecter character. Real acting, Hopkins IS Lecter. The girl ij your example. Her acting is dire. She has no characterisation at all. We see the actress playing herself. Anthony Hopkins is acting, She's reciting lines and standing unnaturally, and while she could be worse, on my scale A-E, she's probably a D. How many D people are on your call sheet?

We started with aspect ratio - and the answer from the hundreds of posts is simple - the filmmaker picks the most appropriate aspect ratio. We then opened up to all sorts, and in a way, what we're doing is talking about movie 'quality', and amateur film making, where the end product is the Holy Grail, but the slope up to it steep, and full of pot holes.

Do you see this?

Please do not reply starting "Oh OK" because this tells us you dismissed it all again, and didn't learn anything

Low budget does not mean low production standards. You have lofty goals, but a team who have none of your enthusiasm, or interest. Dealing with actors isn't hard. They're babies, and have needs. The need to be appreciated. The need to be mollycoddled. The need to feel good, and the need to feel superior because their personalities are fragile. The actor manager needs to understand all this, and mop the brows, make the tea, make subtle suggestions and be very, very clever to get your own way - making them feel they did it, when it was you.

They are often children. I've had to have a conversation with a distressed female about what to do with a suppository - doctor gave it to them, but they didn't know it wasn't to be swallowed. I've had one walk into the rehearsal, sit on the chair, miss it and dislocate their shoulder, and deal with that. I've had fits (medical ones and temper ones), I've had domestics to sort, I've been up till 2am reading in so they could learn lines, I've had to advise on skirt lengths and point out things they cannot do.

You are too young I think to know how to deal with all this rubbish - but you need to start learning.

Okay well what if I decided to make a movie using none of the advice other filmmakers told me and not using any inspirations from other movies, and just try to do something completely original in terms of how it's shot, lit, etc, and I would be doing it to try to serve the story best, rather than going by any previous examples or filmmaking formulas that may have worked for other movies, but not mine.

Would that be better?

As for locations I was not able to find a B or C. I only had two weeks for to make that film for pre-production and production, since it was a film school assignment that was do in two weeks, and no other locations were available in that time, when the first one got scrapped. But for the feature I will have a lot more pre-production time, if that helps. I will also have a lot more time to look for better actors if that helps to.

I also don't meant to imply that I say thanks and move onto something else, without discussing it further, it's just that I've been told on here that I discuss things too much, and repeat myself, so I was trying to not to do that, if that's the case...

Brian Drysdale · August 11th, 2019, 11:37 AM

It's better that you make it according to your personal vision, because it's your film and you're paying for it.

I would read more on producing a feature film, because most film schools are poor in that regard, there's a mass of paperwork that's required if you plan to sell it.

It's not a matter of if it helps, it's more about what needs to be done.

Ryan Elder · August 11th, 2019, 11:45 AM

Okay then, thanks, I wanted to hire a co-producer, or a executive producer to help with that, if that's the best thing to do as well.

But I think if I can get a really good DP, sound and crew, and really good actors involved that will help determine if it's worth making as well.

Oh and as for if I have tested out some of the things I talk about, I do do a lot of sound recording in the field on other people's projects, and have one coming up.

I also tried playing with aspect ratios in similar locations, but I feel I need to do actual scenes with actors and blocking, in order to really know, rather than just doing it on my own, it seems.

Paul R Johnson · August 11th, 2019, 12:26 PM

I've been looking for a location for a project for nearly a year. I've been to dozens. I've spent hours on google earth and so far, nothing is working. I thought I'd found the ideal spot over the weekend, but the visit proved it useless - even in a light breeze, too much noise to get clean audio.

Forgive me but

Quote:

and no other locations were available in that time

is a cop out. Your solution was not serving the product well at all. I really cannot believe there was nothing better.

Totally mystified by the notion you need actors to assess aspect ratio. Actors are predictable shapes - if you really cannot imagine a scene with them in it, to make these decisions, maybe this is not the industry for you to work in. It's a feeble excuse Ryan. You've got a topic with hundreds of posts, yet you can't imagine people in a video frame?

I have no idea what you think a co-producer is, or an executive producer - because in my head, one finds you money and the other is in overall charge, which means you are not!

Can you afford the kinds of day rate really good DP and crew will cost, or will you end up with volunteers/

August 11th, 2019, 12:59 AM	#316
Ryan Elder also known as Ryan Wray Join Date: Nov 2017 Location: Saskatoon, Canada Posts: 2,888	Re: How does a filmmaker decide which aspect ratio to shoot in? Yeah I know the money is gambling but it seems that so many other filmmakers have had to do it for their firsts, that it's just an unfortunate but normal risk. I don't them to make all the decisions, I have all the shots and blocking almost all storyboarded out now. I just want to be able to say to the cast and DP will this work, to make sure it all works. But all the shot and blocking ideas are still mine, right? But perhaps the script and storyboards will determine whether or not the talent will think it will work or not and if they wanna line up or not. So perhaps I will know if the production will turn out good likely, depending on what actors and crew think of it, when I pitch it to them?

August 11th, 2019, 01:26 AM	#317
Brian Drysdale Inner Circle Join Date: Feb 2006 Location: Belfast, UK Posts: 6,152	Re: How does a filmmaker decide which aspect ratio to shoot in? If you really want to, no one can stop you from making a feature film. The budget you have is low, but it depends on the nature of the film and the people you've got involved how good it will be and if you've got sufficient funding . For a low budget film you should spend a LOT of time developing the script, writing as many drafts as it needs. Sending it off to get feedback from a good script editor is money well spent, allow at least a year for the script development.Time is one of the best script editors. One first time writer/director applied this ruthlessly and their film got into Sundance. During that time go on an acting course, because nothing lets a film down more than wooden acting. Life drawing is also worth doing, it means you can draw the storyboard directly without using a program. It also teaches you to look and see things. Don't try rule breaking if you don't understand it. Get the emotions from the actors, not by breaking the 180 rule to "reveal something", the actors can do that better than you can. It doesn't matter if some feature film has done it, the important thing is what is right for your film. In the end, bear in mind that you will probably lose the money, so the most you will get out of it is experience and some hard lessons. Making a feature film will be more time consuming than you think, especially if you want to have a reasonable quality product and it will push you to your limits. Professional directors work for years before they make their first feature and they've worked on bigger productions than your shorts. It depends on the stage that you're at when going for your first feature, at the moment in your case. it feels like a vanity project (doing a feature film), rather than a subject you feel passionate about. Producers also need to feel passionate about projects because they know they'll spend years trying to get the film funded, made and marketed. plus all the legal paper work involved. "One Flew Over the Cuckoo's Nest" took over 10 years to get made.

August 11th, 2019, 01:41 AM	#318
Ryan Elder also known as Ryan Wray Join Date: Nov 2017 Location: Saskatoon, Canada Posts: 2,888	Re: How does a filmmaker decide which aspect ratio to shoot in? Oh okay, I would say I'm very passionate about it, otherwise I wouldn't risk the money. I've tried getting on other shoots, but have only been on the ones I've been on over the years. I want to make it as good as possible for sure. I thought about co-directing so another director can direct the actors, where as I would make all the more technical decisions, such as the cinematography and shots. However, it seems that some say that co-directing is usually a bad, if that's true?

August 11th, 2019, 01:41 AM	#319
Paul R Johnson Inner Circle Join Date: Nov 2005 Location: Lowestoft - UK Posts: 4,045	Re: How does a filmmaker decide which aspect ratio to shoot in? You need to to be very careful on this one Ryan. You cannot ask "will it work"? What if they say no? It's fine to ask for suggestions, it's good to consider them. It's very good for the cast an crew to feel valued, but the question is also linked to another. How much do you trust them. Have a think about this one of mine from Friday. A stage crew had not had time after a busy day to put away the risers they had been using for a show the night before. There was a drum riser, and another a little lower, used by the brass section. They are heavy, and when collapsed very awkward to move, and frequently trap fingers. The incoming show had drums and a percussion section. They asked if they needed risers, as they had not been requested. The incoming show said "we don't normally, but do you think they'd look good?" To a man, the crew said they'd look really good. The person in charge looked happy - they used them. It looked awful, because with this shows layout, there was no need for them, and worse, one of their people wasn't too good on his legs, and getting up there wasn't easy. The lighting people were very happy, because the lighting installed the day before was now exactly in the right place and that was even less work. At the end of the show, I made the crew put every single bit away, and reset the lighting. They pleaded that the next show in might want them - but I wasn't having it. I didn't overuse them in front of the clients, but their comments were not what was best, but what was best for them. It's your money Ryan, but let's face it. Some of the advice you have had from these people has been terrible, clearly wrong, and you must ask yourself how much you trust their opinions - my reading is that they are taking advantage. This is important to you. To them, is it just a bit of work, and the end result unimportant. A good little tip. Have any of the crew asked about their billing in the credits? Maybe wanting to have a better credit than really fair? Somebody wanting 'supervisor' or 'Manager' in their credit, when they were really supervising themselves? a team of one. Have any of them looked a bit shocked at the pay, but then wanted to do it anyway? Will any of them turn up early, or at exactly the call time? Are any of them doing your production because they've nothing better paying in the diary? Do not expect artistic comment from them - they will want the easiest life they can get. All their judgement calls are based on impact to them. If you ask if we should shoot just one more, will bring back the group decision - NO, it was fine. You have endless enthusiasm, but no awareness of people management, and I am not sure about your attention to detail. Some of the stuff you ask, you must already be aware of, and just want our nodding heads to reinforce your own judgement. This isn't the way to spend money.

August 11th, 2019, 01:56 AM	#320
Ryan Elder also known as Ryan Wray Join Date: Nov 2017 Location: Saskatoon, Canada Posts: 2,888	Re: How does a filmmaker decide which aspect ratio to shoot in? Oh okay, well is there anyone a director can consult if all the shots and blocking and acting will work then? As for what if they say no, then that's good, and we can come up with a new shot, or new blocking that works then instead, no?

August 11th, 2019, 02:03 AM	#321
Brian Drysdale Inner Circle Join Date: Feb 2006 Location: Belfast, UK Posts: 6,152	Re: How does a filmmaker decide which aspect ratio to shoot in? Do you really want to be a director if you're leaving dealing with the actors to someone else while you select the shots? There are lots of cases of theatre directors who successfully make a first feature film because they know how to direct actors, while the shots are mostly worked out by the DP. It doesn't usually work the other way round and if could be the cause of conflict and given your questions, I suspect may risk being pushed off directing your own film and effectively becoming the writer/producer.

August 11th, 2019, 02:07 AM	#322
Ryan Elder also known as Ryan Wray Join Date: Nov 2017 Location: Saskatoon, Canada Posts: 2,888	Re: How does a filmmaker decide which aspect ratio to shoot in? Oh okay, I just felt it could be worked out the way around, since theater directors do it that way sometimes. I feel that since I want to get into directing though, that I might as well direct it though. I feel that my ideas to make things easier are always thought of as bad ideas though. Like I suggest co-directing, so someone else can take a load off, and others say it's not a good idea. But what I am suppose to do then, if the best option is to be full on director deciding everything without any input from anyone?

August 11th, 2019, 02:19 AM	#323
Brian Drysdale Inner Circle Join Date: Feb 2006 Location: Belfast, UK Posts: 6,152	Re: How does a filmmaker decide which aspect ratio to shoot in? You don't seem to understand the director's role, they will be getting "suggestions" and "advice" from various people. It's their job to select, steal, adapt, ignore or otherwise the crew and cast inputs. as required. to create their vision of the story. A director has to make decisions.

August 11th, 2019, 02:26 AM	#324
Ryan Elder also known as Ryan Wray Join Date: Nov 2017 Location: Saskatoon, Canada Posts: 2,888	Re: How does a filmmaker decide which aspect ratio to shoot in? Okay but I made decisions on my previous shorts, so I am capable of doing that, aren't I?

August 11th, 2019, 02:58 AM	#325
Brian Drysdale Inner Circle Join Date: Feb 2006 Location: Belfast, UK Posts: 6,152	Re: How does a filmmaker decide which aspect ratio to shoot in? You should've finished with a full stop before "aren't I?"

August 11th, 2019, 06:38 AM	#326
Paul R Johnson Inner Circle Join Date: Nov 2005 Location: Lowestoft - UK Posts: 4,045	Re: How does a filmmaker decide which aspect ratio to shoot in? Only you know Ryan, but your responses in every thread are the same - you have a problem, and use the phrase, "I've been told" and often they told you complete rubbish. You then try to second guess everything. You say, "so what you're saying is..." and we say no, we're not saying that. we point things out and instead of discussing them you say, thank you - then move on and we're always concerned you misunderstood, or didn't get it. We try to help, and spend considerable time doing this - but when we point out something wrong, you frequently say the actor wouldn't;t do it, or yes, it's bad, but you had to rewrite in a hurry, and you make excuses to justify the errors. This is really bad for a film maker with keenness but no understanding of people, or proper planning. You see a problem and capitulate. Months ago, we tried to help with your mic booming. Be honest, how many times have you gone out with a recorder and boom and your headphones and practiced improving your skills? Your aspect ratio question, millions of pages back - have you actually been out to some of your locations and shot the same scene in the ones you are considering? Have you viewed them and decided which is a possible and which is out? On the location front - is you feature location ready? You chose the most bizarre second best location for the one we watched, could anywhere have been worse? Surely there was a plan, with a plan B location, or even a plan C? You don't seem to learn - which is such a shame as you are so keen. You don't check. You don't review, you are reactive, not proactive. Why did your location fail on shooting day? We have zillions of questions, but you rarely have answers. I know it must feel like we're negative, but proper planning of the smallest details is what makes a good movie - the tiny details. Please tell us you have decent actors. They're the key to success. If you had to give them an A to E grade, using a professional movie actor as the best with the A, where do they come. Let's use the Hanibal Lecter character as the A. Forget Anthony Hopkins - the Lecter character. Real acting, Hopkins IS Lecter. The girl ij your example. Her acting is dire. She has no characterisation at all. We see the actress playing herself. Anthony Hopkins is acting, She's reciting lines and standing unnaturally, and while she could be worse, on my scale A-E, she's probably a D. How many D people are on your call sheet? We started with aspect ratio - and the answer from the hundreds of posts is simple - the filmmaker picks the most appropriate aspect ratio. We then opened up to all sorts, and in a way, what we're doing is talking about movie 'quality', and amateur film making, where the end product is the Holy Grail, but the slope up to it steep, and full of pot holes. Do you see this? Please do not reply starting "Oh OK" because this tells us you dismissed it all again, and didn't learn anything Low budget does not mean low production standards. You have lofty goals, but a team who have none of your enthusiasm, or interest. Dealing with actors isn't hard. They're babies, and have needs. The need to be appreciated. The need to be mollycoddled. The need to feel good, and the need to feel superior because their personalities are fragile. The actor manager needs to understand all this, and mop the brows, make the tea, make subtle suggestions and be very, very clever to get your own way - making them feel they did it, when it was you. They are often children. I've had to have a conversation with a distressed female about what to do with a suppository - doctor gave it to them, but they didn't know it wasn't to be swallowed. I've had one walk into the rehearsal, sit on the chair, miss it and dislocate their shoulder, and deal with that. I've had fits (medical ones and temper ones), I've had domestics to sort, I've been up till 2am reading in so they could learn lines, I've had to advise on skirt lengths and point out things they cannot do. You are too young I think to know how to deal with all this rubbish - but you need to start learning.

August 11th, 2019, 11:37 AM	#328
Brian Drysdale Inner Circle Join Date: Feb 2006 Location: Belfast, UK Posts: 6,152	Re: How does a filmmaker decide which aspect ratio to shoot in? It's better that you make it according to your personal vision, because it's your film and you're paying for it. I would read more on producing a feature film, because most film schools are poor in that regard, there's a mass of paperwork that's required if you plan to sell it. It's not a matter of if it helps, it's more about what needs to be done.

August 11th, 2019, 11:45 AM	#329
Ryan Elder also known as Ryan Wray Join Date: Nov 2017 Location: Saskatoon, Canada Posts: 2,888	Re: How does a filmmaker decide which aspect ratio to shoot in? Okay then, thanks, I wanted to hire a co-producer, or a executive producer to help with that, if that's the best thing to do as well. But I think if I can get a really good DP, sound and crew, and really good actors involved that will help determine if it's worth making as well. Oh and as for if I have tested out some of the things I talk about, I do do a lot of sound recording in the field on other people's projects, and have one coming up. I also tried playing with aspect ratios in similar locations, but I feel I need to do actual scenes with actors and blocking, in order to really know, rather than just doing it on my own, it seems.