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.
So you own a smartphone and it happens not to be an iPhone? You're not alone, it appears. I've written plenty about iPhone apps, but now I am leaving that bias behind to explore the Android Market. Listed below are five solid cinematography apps that stand to turn that gadget in your pocket into the ultimate on set tool.
Intention doesn't make the mistakes any less dumb, nor the consequences any less serious. So if you're looking to join the ranks of a Hollywood crew someday, do your best to avoid these 7 idiotic mistakes that are -- unfortunately -- common among first-timers.
Netting a lens is a great and simple way to add style to a scene using cloth material mounted on the rear element of a lens. While netting lenses won't happen on every job, it's a technique camera assistants are expected to be familiar with – and can learn how to do in this video.
Raw Stock is here with four new questions from readers of The Black and Blue. This week's topics include how to make sure gear is reliable when renting, the proper way to store lenses, setting day rates, and taking unfair blame on set.
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.
When RED announced the Epic's boot time had been whittled down to a mere 7 seconds, many celebrated the achievement. But now, with Epic, there's a different time wasting culprit -- black shading calibration.
There is one aspect of film sets that everyone must deal with at some point though and that is radio communication. Specifically, walkie talkies. It may seem like a no brainer - talk like you would talk normally - but there is actually a general set of guidelines as well as specific phrases that are integral to clear and professional radio communication on set.
Part of the sexiness of the RED Epic is its amazing ability to shoot high-speed, slow motion footage at high resolutions. And you bet directors and cinematographers take advantage of this. So it follows that if you're working with the RED Epic, you need to know how to shoot slow-mo.
Those of us in the camera department have known for years that we dress to impress – by being ready for cold weather, hot desert, or a really long day. Adam Carolla agrees and, on one of his podcasts turned into this video, explains why cameramen dress the best.
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.