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(8 replies, posted in Off Topic)

NOBODY USES A CAR SERVICE HERE? I GOTTA HANG OUT WITH A BETTER CLASS OF FORUM USERS.

/monocle

I'm curious about the professionals' opinions about the idea of duel directors. Some have done it for a long time (the Coen brothers) even before the directors' guild allowed it officially. But is it changing Hollywood much? Is auteur theory well and truly dead?

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(8 replies, posted in Off Topic)

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(2,068 replies, posted in Off Topic)

I'm sure it made for a very interesting shot.

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(2,068 replies, posted in Off Topic)

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(23 replies, posted in Episodes)

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(40 replies, posted in Off Topic)

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(40 replies, posted in Off Topic)

There's no denying that her films were financially unsuccessful, and the names she names were financially successful. The exact numbers don't matter. His point remains valid.

And again, he points out that he shares the emotional reaction to the situation.

Wow. That is an unfair reading. He was talking about his emotions, not hers. And the soccer analogy is the heart of her argument. She wants to be picked to helm a big movie, but these these white guys keep getting picked. His point is that those white guys had much the same chance as she did but proved out the gate that they could make money, and she had flops.

Not sure what you mean. His point is that virtually all directors start small and then fail or thrive on their ability to turn a profit. Do we know of black, Asian, or female directors who hit big but weren't given another chance? Or who weren't given a second chance after a modest failure?

I think the problem is more basic: black, Asian, and female directors aren't even getting into the game in the first place because they lack many of the resources young, white men have. If Sundance and others had a lot of diversity but only the white male film makers were getting deals to move into major features, then that would be really telling, but I don't think that's the case.

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(431 replies, posted in Off Topic)

Welcome, Zak! Keep us apprised of your podcast progress, or "prodcrest".

Reading books about film making by Bogdonavitch and Ebert and others has been more instructive than reading Cinefex, tho. And listening to the director's commentary on the movie is better still. Here and there you get bits of film making philosophy dropped into the "it was so cold that day" stories.

I used to buy it from time to time as a layman with no intention of joining the VFX world, and it reads fine. I stopped looking for it (it was hard to find on bookstore shelves) when CGI became so ubiquitous that it became the answer to every "how'd they do that?" question.

I've since subscribed on the iPad and browse issues. Technology has advanced so much that Hollywood is now able to do (a bit) more practical effects and just enhance them/hide the seams with CGI.

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Fun idea. Something feels wrong with the way the choral backing is done, but I'm not smart enough to know what.

Lyrically, the song's central gag doesn't build to anything, like a moment of doubt that reverses itself or the revelation of a method to the madness or something.

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(27 replies, posted in Off Topic)

Yeah, there's some software I've heard of that can somehow pull audio from two different USB mikes. I don't have a second USB mike or I would have tried it.

EDIT: By the way, to return to your original question, I've been looking at the Rode Podcaster, which YouTube reviews suggest has pretty much all the advantages of the Heil PR-40 at 2/3 the cost and with a USB connection (the Rode Procaster is the XLR version). These are all dynamic mikes rather than condensers like the Snowball and my Samson C03U, so they don't pick up room noise or people on other mikes.

I have a very inexpensive ($18 back in 2008) boom arm stand for my mike that I'm really happy with, so don't think you have to pay a lot for that. I agree that it's waaay more convenient than a desk stand. And I wouldn't bother with a shock mount. Anyone with a decent setup and an ounce of somatic feedback can avoid bumping the mike. Also, I use a foam ball-type windscreen and immediately ditched the clumsy goose-necked pop filter I'd bought. (However, you have to speak directly into a dynamic mike, so a stand-out pop filter might be a little more effective than the foam ball.)

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(27 replies, posted in Off Topic)

I've toyed with the idea of moving to a little Berenger mixer and XLR mikes, but I don't think you get much of a quality boost until you add an in-line compressor-limiter. You mainly get flexibility to expand your mikes and other inputs (phone, instruments, etc.).

Of course, if that's what you're looking for, then I suggest googling "podcasting equipment" and seeing what Podcast Answer Man and others have to say about various boards.

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(10 replies, posted in Creations)