Today we’re going to time-travel into… the future! “Is it a good future?” you might ask. Well, that depends on how well you follow the advice in this post — we’re going to talk about how to better prepare yourself for doing your taxes for next year.
I’ve got three quick questions for you: Do you like money? Do you like saving money? Do you wish you could get money back from the stuff you’ve already bought? If you answered “yes!” this post for you — because we’re going to talk about tax deductions.
Filing taxes isn’t as intimidating as it may seem, but that doesn’t mean you won’t make a mistake. When you’re filing as a freelancer for the first time (or the fifth), there are a few pitfalls you’ll want to steer clear of to avoid paying more than you need to or to avoid an audit from the IRS.
Sometimes the hardest part about doing your taxes is summoning the will to start. If you’re like me, you’ll do anything else on your long list of “To-Do’s” before you’re willing to do taxes. I don’t blame you.
When you’re a freelancer, paying taxes can seem like a huge burden. There’s more paperwork to handle, calculations to make, and money on the line. If you don’t wade through the ocean of tax rules carefully, your filing could end up being a tidal wave of epic proportions.
What came forth were laws and commandments written by the Lord himself for all camera assistants and clapper-loaders to learn and to follow. With their slates in hand, they waited patiently as, one-by-one, the rules of slating were laid upon them.
It’s true there are some things that are primed for post-production and are better done in front of a computer rather than in front of a camera. But there’s a difference between planning a shot to be enhanced in post and relegating a shot to be fixed in post. As camera assistants, we may have a small role to play, but if we play it effectively, we can help avoid some major “fix it in post” headaches.
Knowing which lighting gels do what is crucial to using them properly. So Brian Dailey has created Gel Pocket Guides: a reference for lighting gels that you can put on your phone or in your toolkit to consult in a pinch.
If you want to be a professional, you’re going to have to dive deeper than these obsessed filmmakers. You’re going to have to do the hard work. You’re going to have to actually learn beyond the product cycle.
As we leave 2010 behind, there's no doubt that the digital cinematography race is getting tighter with options across the board. Three major players – RED, ARRI, and Canon – are chasing the trophy. But how do they stack up against each other?
Raw Stock is all about answering your questions: Where can I get a list of all filter tags? How do you explain a camera system to a DP? What is the deal with 23.98 fps? Sent from actual readers, these emails get answered in the inaugural edition of Raw Stock.
This series will cover things like black-shading calibration, REDVOLT batteries, firmware updates, and using still lenses with the Epic. Not every post will cover a "major" problem, but each will cover an issue that is extremely helpful to be aware of before you even prep the camera.
Working on a film set can be a daunting, albeit exciting, opportunity. There are tons of hurdles to jump including experience, pace and, of course, language. This week, I will focus on general production slang. That is, lingo that isn't focused on a single department.
The Apple iPhone is undoubtedly one of the most powerful phones on the market today. Combined with its App Store, it has thousands of capabilities meaning there are plenty of apps to help you become more efficient on set.
Filmmakers are tough to buy gifts for. We're usually movie snobs, so picking up just any ol' blu-ray at the store becomes a decision wrought with anxiety. The equipment we use for our jobs isn't exactly sitting on a shelf in Wal-Mart. And the stuff we really want -- cameras we spend hours lusting over -- number into the thousands of dollars.
The devices we have in our pockets, the ones that can run these apps, these are the new leathermans. They have everything we need. They eliminate the need to carry paper manuals and enable us to do complex timelapse calculations in a fraction of the time as a paper and pen.
How many times have you picked up a cable only to find it tangled like an Octopus orgy? Or maybe you've grabbed a video cable and thrown it out on set only to have it tie itself in knots? You could even be the one who wrapped those cables causing them to get jumbled up.
The RED Epic, with its 5K resolution and low compression options, can be the biggest enabler of data bloat if you let it. That's why it's crucial to understand the difference between the various REDCODE data ratios that range from 3:1 all the way to 18:1.
A couple of months ago, I did a post that featured three useful cinematography/camera assisting iPhone apps to have on set. In my introduction, I stated that "the Apple iPhone is undoubtedly one of the most powerful phones out on the market today" and that "there are plenty of apps to help you become more efficient on set and make the iPhone one of your essential tools."