The Practical Filmmaker

Leaving the comfort and security of a corporate gig to become your own boss can be frightening. This week we walk with Steph Cullen, freelance filmmaker, on her transition from corporate life to freelancing. In this episode, she talks about creating legal contracts, insurance, and her favorite nonprofit. Listen to hear how Steph has transitioned from corporate life to becoming a freelancer. Key Points:1:30 - How she got started3:39 - Why she left the security of her corporate job8:27 - Creating legal contracts11:55 - Favorite gear15:14 - Types of projects she takes on16:06 - Something going wrong20:30 - OMG Female Filmmakers 23:02 - Favorite Nonprofit to work with24:48 - Highlight and lowlight of freelance experience Links:Nick Richey EpisodeUniversity of Idaho Law ClinicArt List IOFreshbooksWebsiteConnect with the Practical FilmmakerFollow The Practical Filmmaker on InstagramWatch more episodes on YouTubeFind more filmmaking resources

If you have a passion for metal artwork, you might be interested in becoming a props fabricator.This week Eric Anthony Leong, Props Fabricator, shares how he started in the industry. Eric's film resume includes Black Adam, Till, and Marvel. In this episode he talks about venturing into the industry, working on set, and setting rates.Listen to hear how you can turn your passion for creating metal artwork into a film career.Key points:1:30 - Becoming a prop fabricator 7:29 - Venturing into the film and television world11:03 - Getting details on how the props are being used11:39 - Communicating with different departments14:10 - Who eats the cost when someone makes a mistake16:41 - Working on set20:15 - Union requirements 23:08 - Setting rates28:30 - Something going wrong with materials 30:10 - What is overlooked 34:32 - Tools of the trade37:50 - Why he's in the industry46:06 - Average build timeLinks:YouTubeFacebookInstagramWebsiteConnect with the Practical FilmmakerFollow The Practical Filmmaker on InstagramWatch more episodes on YouTubeFind more filmmaking resources

In 10 days, we'll be having our 2nd annual virtual mixer on the Gather platform! Go to @practicalfilmmaker on insta or thepracticalfilmmaker.com to sign up!Filmmakers/Showcase:-John Quinn - Editor (Horror genre, The Chosen)-Nick Richey - Indie Writer/Director of 1-800-HOT-NITE-Alex Goetz - outdoor filmmaker (NatGeo, BBC)-Nina Vallado - Documentary filmmaker (Student Academy Award finalist)-Theo Brown - Indie Writer/Director - Feature-Lenny Leonardo - Indie Writer/Director - Series-Sydney Tooley - Writer/Director (Sun Moon with Sony Affirm)Giveaways/Prizes include:-1 TB NVMe SSD-$30 Film Tools Gift Card-Gaffe tape galore!-Practical Filmmaker swag!Connect with the Practical FilmmakerFollow The Practical Filmmaker on InstagramWatch more episodes on YouTubeFind more filmmaking resources

Should you skip film school?This week Nick Richey, indie writer & director, shares how he went from an economics major in college to making feature films. In this episode, Nick tells how he skipped film school, making his latest project 1-800-Hot-Nite, and paying himself as a director.Listen to learn if film school is right for you.Key points:1:24 - How he got started in the industry6:45 - First feature film9:25 - No formal education 11:34 - Something going wrong 15:14 - Investing in your career 18:54 - Latest film 1-800-Hot-Nite23:30 - Favorite day on set25:23 - What went wrong on set32:50 - Screening went wrong34:24 - Creating coming-of-age films36:32 - Next project38:28 - Making a distribution deal48:34 - Paying yourself 54:06 - Favorite gear57:29 - How to trust your guy on castingLinks:Low Low Trailer1-800-Hot-Nite TrailerStudio BinderStudio Binder YouTubeShot DeckAtlas LensTwitterInstagramConnect with the Practical FilmmakerFollow The Practical Filmmaker on InstagramWatch more episodes on YouTubeFind more filmmaking resources

When starting as a freelance producer, you will make mistakes, and it's okay. This week Bryan Fellows, a freelance producer for Nascar, Nat Geo, and Disney+, shares how he overcame his mistakes from starting out as a freelance producer. In this episode, he talks about his career pivot, getting started in producing commercials, and the tools he uses to streamline his workflow.Listen to avoid easy mistakes when starting out as a freelance producer.Key Points:1:36 - How he started4:18 - Wanting to Direct7:10 - Starting own production company 11:54 - When a project didn't work out15:01 - Pivot point to producing commercials 27:22 - Getting started into the commercial world31:37 - Learning on the job35:12 - New software to help producers36:48 - Turn around expectations 39:30 - Bidding on a job42:06 - How to quote for his time 45:41 - Favorite tools Links:Episode 6 Where SpotVideo VillageHot BudgetMovie MagicSet HeroStudio BinderFrame IOWrapbook NotionWebsiteInstagramConnect with the Practical FilmmakerFollow The Practical Filmmaker on InstagramWatch more episodes on YouTubeFind more filmmaking resources

If you have a passion for designing and like to manage large projects, becoming a set designer might be for you.This week Cece Destefano, Production Designer, for Alias, Empire, and They/Them, shares how she got started in the industry.  In this episode, she talks about how to get your big break, her favorite gear, and how to get started. Listen to learn how to become a set designer for TV and feature films. Key points:1:26 - How she got started6:03 - How to get your big break11:08 - Big break19:11 - Set structure for the production designer, set decorating, and art department 23:15 - Favorite set to build for Alias 29:07 - Top 5 resources  32:23 - Favorite gear38:17 - Pay rate40:39 - Something going wrong 43:31 - Budgeting for construction costs47:52 - How to get into the industry Links:IMDBWebsiteArtemis ProSpectroBosch Laser Measure Sun SeekerScriptation Connect with the Practical FilmmakerFollow The Practical Filmmaker on InstagramWatch more episodes on YouTubeFind more filmmaking resources

If you love fashion and making films, check out the Wardrobe Department.This week we have Ashley Heathcock to share how she went from working for a local designer in New Orleans to designing costumes for TV shows and movies. In this episode, she talks about how she got started, the rules of the trade, and joining the costume guild.Ashley has worked on Magnum PI, Bright, and Dawn of the Planet of the Apes.Listen to learn how you can turn your love for fashion and filmmaking into a full-time gig.Key points:00:00 - Intro2:05 - Getting started5:49 - Wardrobe Dept terms7:15 - Modifying and creating pieces 8:46 - What happens to costumes after the shoot10:27 - Rules of the trade11:21 - Aging and dyeing process tips16:34 - Difference between a bad and good job18:10 - How to get started21:30 - How early in the process are you brought in22:12 - Pay rate for costumers 22:44 - Prepping costume truck26:21 - Expectations for pay27:55 - What does it take to get into a union32:38 - Getting started in the union 33:44 - Finding other costume designers 35:04 - Favorite Gear39:35 - Something going wrong43:55 - Weaving personality into the design 44:41 - Best places to get materials Links:IMDBLocal 478 Union New Orleans Costume Desing GuildSync on SetMood Fabrics Connect on InstagramWebsite

What happens when you question your career in film?This week Corey and Emily Critser share their journey of leaving LA for the South East and launching a commercial photography business. In this episode they share what skills transitioned from film to photography, bidding on jobs, and setting their rates.Listen to hear how their risk paid off.Key points:1:09 - Transitioning from filmmaking to commercial photography 8:37 - Blending and photo and video projects12:50 - What skills transitioned from film to photography 16:14 - Bidding jobs22:23 - Working with an agent 26:35 - Setting rates31:22 - Full-day shoot price range34:45 - Favorite gear37:37 - Something going wrong42:59 - Managing work-life balance Links:Lanewood StudioInstagram

Don't be tempted to jump straight into DPing your first gig.This week Bryan Folwer, DP & Steadicam Op, shares how you can get started as a DP. In this episode, he talks about setting your daily rate, unions for DPs, and skills needed to be a DP other than knowing how to light.Listen now to learn how you can get paid to be a DP.Key points:1:55 - How he got started7:04 - Question to ask a DP when hiring 12:02 - Daily rate when getting started18:40 - BBC Documentary20:25 - Favorite types of shoots23:27 - Unions for DP's25:27 - Setting up benefits 30:41 - Favorite Gear32:30 - Using a steady cam34:29 - New gear41:58 - Something going wrong 46:21 - How to get started as a DPLinks:Fowler FilmsCovert CoffeeProlycht Orion 300 FS KitGodox Parabolic 128 Reflector KitConnect with the Practical FilmmakerFollow The Practical Filmmaker on InstagramWatch more episodes on YouTubeFind more filmmaking resources

If you give your art department the time and resources they need, they can turn a flat set into a dynamic space that will transport your audience into the world you're trying to convey.This week Clifton Chandler, Production Designer, shares his experience from working in the art department and what resources producers need to provide to make their sets look amazing. In this episode, he talks about the must have basics, how to stay organized, and how to hire for the art department. Listen now to learn how to better work with your production designer.Key points:3:01 - Getting started in the art department5:00 - Take-aways after first project7:14 - Must-haves10:08 - How to stay organized 12:05 - What to look for when hiring the art department 14:55 - Day rates for art department 18:31 - What if director doesn't like your work26:17 - Rules to live by for art department 29:33 - Favorite gear32:23 - Something going wrong 37:35 - Why the art department Links:InstagramWebsite Connect with the Practical FilmmakerFollow The Practical Filmmaker on InstagramWatch more episodes on YouTubeFind more filmmaking resources

Don't give away all your rights to a film distributor.This week, Anthony Hackett, Director & Actor, shares his experience of getting burned in his first distribution contract.  In this episode, he talks about the contract process, what to avoid in contracts, and working with investors. Listen to avoid giving away your film rights to a distributor. Key points:1:28 - Journey into filmmaking8:20 - Becoming a niche filmmaker 11:24 - Contracting process 14:48 - What to avoid in a contract18:32 - Budgeting for indie films25:54 - Working with investors33:40 - Directing and acting 38:05 - What role did you need help with39:47 - Favorite Gear42:25 - What went wrong Links:SONset FridayConnect with the Practical FilmmakerFollow The Practical Filmmaker on InstagramWatch more episodes on YouTubeFind more filmmaking resources

Thank you so much for joining us on our adventure. We're taking a summer break to rest, recover, and get more great guests booked for the future. We will be back in August. Enjoy your summer!  

It can be tough finding time to work on passion projects after spending a day working on a commercial project. Myriad Video has found a way to merge their commercial work with their passion projects.In this episode, Alysse Campbell, Manager of Orginal Content for Myriad Video, shares how they balance commercial work with narrative filmmaking. Alysse shares about pitching projects, self-funding passion projects, and her favorite gear.Listen to hear how Myriad balances commercial work and narrative filmmaking.Key points:1:20 - Journey to becoming a filmmaker 4:15 - Current agency work4:58 - Client budgets7:54 - Pitching projects11:06 - Self-funded passion projects14:07 - Freelancer path17:43 - Apprenticeship program at Myriad 20:53 - Favorite gear25:34 - Something going wrong Links:Myriad VideoMyriad on Instagram Film Freeway Connect with the Practical FilmmakerFollow The Practical Filmmaker on InstagramWatch more episodes on YouTubeFind more filmmaking resources

Breaking down a script and scheduling scenes can take time away from being creative.This week Ruslan K joins us to talk about his new software, Filmustage, that uses AI to help filmmakers save time breaking down scripts and scheduling scenes.  In this episode Ruslan talks about his software, Filmustage, and how is using AI to help filmmakers save time. Listen to see if FIlmustage would work for you and get a discount code.Key Points:1:24 - How he got started 3:02 - Replacing Movie Magic4:35 -  What is Neural Network Technologies8:25 - Studio Binder integration 10:06 - Fixing issues11:49 - Testing software13:09 - Something going wrong 16:39 - Favorite Gear18:12 - Views on AI20:20 - Upcoming changes20:57 - Pricing23:07 - Starting a startupLinks:YouTube Channel Matt Hadley Episode Filmustage use Discount Code Practicalfilmmaker30Connect with the Practical FilmmakerFollow The Practical Filmmaker on InstagramWatch more episodes on YouTubeFind more filmmaking resources

It's cutting together and it looks good. This week we follow up with Sydney Tooley in part 4 of her journey to completing her first feature, Sun Moon. She gives you an update on her progress and the struggles she's going through in post.Watch to Sydney's latest update on her first feature.Links:Part 1Part 2Part 3Connect with the Practical FilmmakerFollow The Practical Filmmaker on InstagramWatch more episodes on YouTubeFind more filmmaking resources

Trying to make a film in a different country can bring a unique set of challenges such as language barriers and cultural differences. This week, Sydney Tooley joins us for part 3 of her journey into making her first feature film. In this episode, she shares her journey to getting into Taiwan, how she connected with the crew, and how she tried to stay true to the culture. Listen to hear how Sydney worked with an international crew, and her next steps to getting her film finished. Key Points:1:28 - Getting into Taiwan2:40 - Filming in Taiwan9:45 - Connecting with crew12:47 - Bridging cultures 15:00 - Miscommunication 20:49 - Working with producers21:09 - Working with studio22:48 - Staying close to culture 31:51 - Delivery to Studio Links:Part 1Part 2Sonscreen Panel Sun Moon Film Instagram Sydney Tooley InstagramConnect with the Practical FilmmakerFollow The Practical Filmmaker on InstagramWatch more episodes on YouTubeFind more filmmaking resources

The SkyPanel is more expensive than the Vortex 8, but is it worth it?This week, David George compares the Cream Source Vortex 8 vs. the SkyPanel S60-C. In this episode, he reviews the features of each light, their pros & cons, and light output. Watch to see what light you should use for your next project.Links:Vortex 8SkyPanel S60-CConnect with the Practical FilmmakerFollow The Practical Filmmaker on InstagramWatch more episodes on YouTubeFind more filmmaking resources

It can be hard balancing school and shooting your first feature film as a student filmmaker.  This week we talk with a panel of filmmakers live from the Sonscreen Film Festival, our sponsor, about how they were able to make their first features. The panel includes three former students and one current professor from Southern Adventist University.  In this episode, they share how their project was funded, what their biggest expense was, and how they've transitioned into full-time filmmaking. Listen to learn how these former students made their first feature film. Key Points:1:55 - After 95 (Production Company) Latest Production 4:24 - Michelle Noland Feature Filmmaker 5:42 - Nicholas Livanos Feature Filmmaker 8:46 - Sydney Tooley Feature Filmmaker12:14 - How they raised funds for their projects17:10 - Biggest Spend19:18 - Transitioning from student to full-time filmmaker 28:13 - Managing life & filmmaking 31:11 - Working with an international crew 35:15 - Favorite gear41:49 - Something going wrong 53:42 - Other jobs to pay bills55:17 - Future plans with filmmaking58:55 - Merging music & filmmaking 59:48 - Where to watch the panels' projects61:42 -  What would you do over again LinksMichelle Noland Film Voices Rising Jared JamisonMichelle NolandSchool of Visual Art & Design at Southern Adventist UniversitySydney TooleyConnect with the Practical FilmmakerFollow The Practical Filmmaker on InstagramWatch more episodes on YouTubeFind more filmmaking resources

The Nanlux Evoke 1200 is cheaper than the Arri M18, but will it be reliable? This week David George compares the Nanlux and Arri lights to help determine what kit you should use. In this episode, David goes over the features of each light, the color temperature, as well as the flood and spot.Listen to see what light kit will work for your next project.Links:Nanlux KitArri M18 KitConnect with the Practical FilmmakerFollow The Practical Filmmaker on InstagramWatch more episodes on YouTubeFind more filmmaking resources

Landing your first editing gig can be tricky, but there are a few ways you can stand out.This week, John Quinn, editor, shares his tips on getting started as an editor in Hollywood. In this episode, he talks about working union vs. non-union, the benefits of having an agent, and tips on how to get into the industry. John's resume includes Windtalkers, The Chosen, and The Grudge 3. Listen to learn how you can get started as an editor in Hollywood.Key Points:1:18 - Why get into editing4:19 - Getting the job for Windtalkers6:55 - SciFi Channel Movies9:03 - Cutting horror films10:27 - Cutting the Chosen 14:28 - Why edit horror and faith-based films 18:50 - Comparing Union vs. Non-union 23:28 - Kappa Studios25:42 - Are agents helpful32:27 - How to stand out as a beginner 36:10 - Favorite Gear38:01 - When something goes wrong49:39 - Creative vision different from the director 54:30 - Best advice for cutting dialogue scene55:55 - When to hire the sound house58:24 - What would you tell your younger self59:44 - The power of networking 62:08 - Getting fired Links:Kappa StudiosChristian Film Finishing FundArt Of The CutJohn's IMDBConnect with the Practical FilmmakerFollow The Practical Filmmaker on InstagramWatch more episodes on YouTubeFind more filmmaking resources

Don't let a bad generator stop production. This week, David George reviews the Mega Silent Generator from Tecno Gen on set. This 60-kilowatt generator can run 18-kilowatt lights along with video village and other gear. In this episode, David shows its features and shares how it worked during production. Listen to see if this generator will work for your next project. Pros:⭐️  20 amp courtesy outlets⭐️  240 volts 50 amp⭐️  Block heater⭐️  Battery charger plug⭐️ Fully bunded fule take  (a tank within a tank to reduce fuel leakage) ⭐️ 5 sets of three-phase cam locks ⭐️ Electronically controlled Cons:

It's okay to feel discouraged. This week, continuing to update us on her feature film for Sony Affirm Pictures, Sydney Tooley shares her struggles as a first-time director and about the dark times, she went through after the first phase of principle production.Watch a quick highlight reel of the amazing locations in Taiwan and the wrap of the shoot for “Sun Moon.” Links#39 Directorial Debut | Part 1 with Sydney TooleySun Moon Film Instagram Sydney Tooley InstagramBut What I Really Want to Do Is Direct: Lessons from a Life Behind the CameraConnect with the Practical FilmmakerFollow The Practical Filmmaker on InstagramWatch more episodes on YouTubeFind more filmmaking resources

On this episode of G&G David George reviews the CRLS Lightbridge 100 and Alpha 18K. He talks about what it's like to use them on set and how they compare to the Arri Max 18K. Watch to learn more about the different roles the HMI lights play on set and what to look for when choosing one that works for you.Connect with the Practical FilmmakerFollow The Practical Filmmaker on InstagramWatch more episodes on YouTubeFind more filmmaking resources

If you are an adrenaline junkie, becoming an action sports cinematographer might be a dream job.This week, Ben Dann, cinematographer for Teton Gravity Research (TGR), shares his journey of traveling the world filming for TGR. In this episode Ben shares how he preps for shooting in the back country, favorite gear he uses, and how to get into the industry. Listen to Ben to learn how you can become an action sports cinematographer.Key Points:1:30 - How he got started4:17 - Internship at Teton Gravity Research (TGR)12:02 - Working in the commercial world 13:24 - Prep work before filming in the back country17:37 - Letting new people in to the field 22:40 - Freelancing with TGR25:04 - Daily rates29:42 - Jobs he would say no to32:48 - Favorite gear38:09 - Something going wrong 42:05 - Favorite Shoot43:20 - How to get into the industry44:08 - Upcoming Red Bull event45:26 - Scope of workLinks: Justin Fann Episode David Allen Arnold Episode Follow Dan on Instagram 

This week David George gives you a quick comparison of the Lightbridge vs. the shiny board. He'll be doing an update with experience on set, on whether or not the cost for the Lightbridge ($3500) is worth it over the traditional $350 shiny board.Connect with the Practical FilmmakerFollow The Practical Filmmaker on InstagramWatch more episodes on YouTubeSupport the showFind more filmmaking resources

If you want to get your film distributed, you need to be persistent.This week, Aj Martinson, Producer/Director, shares how his persistence paid off to get his first indie film distributed.  In this episode, he talks about finding his first distribution deal, film festivals, and self distribution.Listen to get tips on how to find distribution for your film.Key Points:2:23 - How he got started6:46 - Creating first project15:12 - First distribution deal24:13 - Shooting first documentary37:27 - Film festival for documentary42:03 - Self distribution 44:32 - Something going wrong58:17 - Favorite gearLinks:Section 3 FilmsPanavision GrantAmerican Film MarketCinando Database Selling Your Film Without Selling Your SoulCaption MaxThe End of Blindness Connect with the Practical FilmmakerFollow The Practical Filmmaker on InstagramWatch more episodes on YouTubeSupport the showFind more filmmaking resources

If you've ever wondered how they film wildlife undisturbed., Alex shows you his set up.Alex Goetz, wildlife filmmaker, has filmed for for the BBC, Nat Geo, and PBS. This week on Gear n' Gadgets, Alex shows you how he captures nature sequences on the down low.Listen to see what gear he likes to use.Connect with the Practical FilmmakerFollow The Practical Filmmaker on InstagramWatch more episodes on YouTubeSupport the showFind more filmmaking resources

Don't budget for distribution when producing a micro budget film. Geoff Quan, Original Independent Films at Netflix, shares why you shouldn't budget for distribution and instead focus on making a high quality film. Geoff's resume includes Light of My Life , Blindspotting, and the Netflix biopic, Barry.Listen to learn how to improve your next micro budget film. Key Points1:20 - How he got started3:22 - Why producing 4:52 - What union is he apart of 5:33 - Distributing first film9:45 - What he looks for in projects11:17 - Why is he in the industry 12:22 - Working with the right people14:48 - What went wrong on a micro budget film18:27 - Difference working with non actors and big name actors 22:05 - Flawed System 24:40 - Finding the right people to help sell your film 27:40 - Working with a publicist 31:04 - How much should you budget for publicists and distrubtion 33:01 - Favorite Gear35:19 - Future of indie filmmakingConnect with the Practical FilmmakerFollow The Practical Filmmaker on InstagramWatch more episodes on YouTubeSupport the showFind more filmmaking resources

Impress your clients with a traveling video village perfect for their driving scene. This week David George shows us his vehicle village setup for clients to watch a scene being filmed from a separate driving vehicle.Listen to learn an alternative way for your clients to monitor car scenes.Key Points::20 - Bolt 1000 Receiver:52 - Monitor1:50 - Conclusion

It can be scary taking a leap to start your production company, but it doesn't have to be.This week Erik Harty, Executive Producer for Long Division Films, gives advice on how you can start your own commercial filmmaking company. Erik shares how to structure your company, what gear you should use, and what you should include in your portfolio when making a pitch.Erik's company has worked on projects for Doritos, Geico, and Bank of America. Listen to learn how you can launch a successful commercial filmmaking company.Key points:2:49 - How he got started 3:48 - TV/Film vs commercial filmmaking8:57 - Getting into commercial filmmaking11:40 - First big projects15:30 - Company structure 17:46 - Starting your own company 28:11 - Networking with crew31:16 - Favorite Gear38:42 - Something going wrong42:15 - How to create high end product45:01 - What to include in your portfolio Links:Long DivisionHot BudgetStudio BinderErik on LinkedIn

If you're looking for a multi cam switcher for live streaming, check out the ATEM Mini Extreme ISO switcher.This week, David George talks with Charles Coleman about the features and quirks of this switcher. The ATEM has eight inputs making it easy to stream a multi cam for podcasts, churches, or concerts. Charles also shares how he has overcome an issue with the audio feed within the software.Watch to see if the ATEM Mini Extreme ISO would work for you.Pros ⭐️ 8 inputs⭐️ Stream to computer & record to external hard drive⭐️ 2 HDMI outputs Cons

Wildlife Filmmaking can be exciting, but it comes with a set of unique challenges most filmmakers don't experience. This week Alex Goetz, Wildlife Filmmaker, shares how he broke into wildlife filmmaking for the BBC, Nat Geo, and PBS. In this episode Alex shares how to get started, how filmmakers get paid, and the gear he uses to capture animal habits in the wild.Listen to learn how you can get started in wildlife filmmaking.  Key points:1:32 - Getting into wildlife filmmaking7:14 - Crew in the field 9:06 - How long are shoots & getting paid10:34 - How to get started in wildlife filmmaking16:17 - Wildlife Film Festivals 17:42 - Union for Wildlife Filmmakers19:19 - Day rates for outdoor filmmakers21:44 - Gear he uses27:05 - Oh no moment 29:28 - Toughest part of job31:50 - Favorite story from the field 35:27 - Upcoming projectsLinks:Running Wild MediaStaff Me UpJackson Wild Film FestivalInternational Wildlife Film Festival Wild Screen Film Festival A Goetz Film Alex Instagram 

As we head into 2022 what questions do you have about filmmaking, what type of gear are you interested in upgrading this year, how can we help you improve your craft?Leave your comment to let us know how we can help you.

Commercial filmmaking can be a lucrative and steady paycheck that many filmmakers may not consider within the typical model. This week David Mancao producer for Sasha Group, shares how you can break into ad agency work, no matter where you live. David lives in a small market and produces projects for large brands throughout the U.S. Listen to see how you can start working at an ad agency in your cityKey points:1:22 - How he got started8:20 - Getting started at Sasha Group12:28 - Roles & culture at Sasha Group18:15 - Money in commercial shoots 20:41 - Agency fees & contracts23:23 - Creativity in job role30:57 - Alternative filmmaking avenues 32:09 - How to connect with local ad agencies 37:31 - Favorite tools of the trade38:47 - Something going wrong45:32 - A/B testing before production  49:02 - Trends in ad agencies Links:Sasha GroupStudio BinderConnect with David on LinkedIn

Video village on set is crucial—especially in current times when the ability to stream to remote clients sets your production apart.In this Gear n' Gadgets, David George takes a deep dive with Kimbrough Davis on how he easily shares the feed from set to the different departments. Kimbrough is a video assist on commercial shoots for companies like Apple. In this Gear n' Gadgets deep dive, learn how Kimbrough easily splits the audio and video feeds for different departments. He also shows his latest technology on how to stream feeds to remote clients. Listen now to learn how Kimbrough easily splits the audio and video feeds and the latest technology on how to stream feeds to remote clients. Key Points:55 - Job title & responsibilities for video assist 1:54 - How he got started4:41 - What kind of work he does8:33 - New technology because of COVID13:13 - Video Assist Cart16:54 - Value on set18:43 - QTAKE features 20:17 - Favorite technology  Cube 655GearBlackmagic Web Presenter QTake Software Blackmagic Smart HubPresonus Audio BoxCube 655

Tanya here—keeping this short for your holiday (this is the week that wafts to the cosmos anyway, right?). What started as a typical Update and New/Old Year Sign-off morphed into something else.I'd posted on Insta around Thanksgiving about having dinner with my biological cousins, and a friend mentioned that I should do an episode on it—well in a small fashion, here it is! And there's a point to telling it, I promise. But I hope throughout this crazy past year of near-strikes, on-set accidents, or gigs falling through due to these past 2 years just being crazy, that you guys are thriving out there. Whatever path you end up going, may you enjoy your story.Cheers,-T

If you are looking for a reliable light unit on set, you might want to consider the Arri M40. In this review, David George helps you decide if the Arri M40 is the right unit for your next project. He shares how to power the light, what quirks the light has, and how great the customer service is when something goes wrong. The light was very reliable on set, but you might want to consider having a backup up unit in case something does wrong.Listen to see if the Arri M40 will work for your next project.Pros⭐️ Reliable⭐️ Great Customer ServiceCons

If you want to become a studio executive, how do you get started? This week we talk with Noelle Green, Executive In Charge of Production at Netflix, on her journey to becoming a studio executive. In this episode Noelle shares how she became an executive, what it's like working at Netflix, as well as their inclusion initiatives.Noelle's filmography includes The Irishman, Bird Box, and Iron Man 2. Listen to learn how you can become an executive at a studio.  Key points1:39 - How she got started2:39 - What is her role as an executive 3:44 - Difference between film and series4:20 - What's a typical day like6:20 - Getting started in the industry 8:27 - Joining a union9:22 - How to become an executive10:20 - Accounts help producers set budget11:36 - Working with independent filmmakers at Netflix12:19 - How to submit a film to Netflix12:57 - Inclusion Outreach Network (ION) at Netflix 20:34 - Diversity programs at Netflix21:26 - Favorite resources 24:44 - Netflix sharing performance numbers27:06 - Global programming 28:02 - Facing challenges 30:30 - Creating a safe set32:45 - Most challenging part of her jobLinks:Connect on Instagram

If you're looking for a production van that's easy to drive and fuel efficient the Nissan NV 200 might be what you need.This week Liam Dunaway, Key Grip, shows David George how he maximized the space in his van for production. Liam shares why he likes the Nissan NV 200, how he customized it for his gear, and some of the challenges he faces with it.Listen to see if the Nissan NV 200 will work as your next production rig. Pros:⭐️ Small & stealthy⭐️ Flexibility⭐️ Clearance for 4x4's ⭐️ Easy to park⭐️ Fuel efficient Cons:

The world of action sports filmmaking follows a different set of rules. This week we dive into the world of action sports filmmaking with Justin Fann, Teton Gravity Research Lead Editor & Director, about action sports filmmaking. In this episode Justin shares how you can get started, how their projects are funded, and the gear he likes to use in the back country. Listen to hear how sports action filmmaking is different from the traditional Hollywood model. Key Points:2:15 - How he got started4:50 - Where you can get started6:40 - Roles in Outdoor filmmaking 8:55 - How to stay safe11:48 - Setting up shots14:14 - Budget for project16:13 - How are projects funded 17:43 - What expenses the company covers18:45 - Shooting Length 20:50 - Types of insurance to get22:06 - What gear he likes to use25:01 - Most dangerous situations26:49 - What went wrong 31:34 - Most challenging part of the job34:11 - Path to Teton Gravity Research 37:50 - Latest projectLinks:Teton Gravity Research Stoke the Fire Trailer Justin Fann InstagramWebsiteConnect with the Practical FilmmakerFollow The Practical Filmmaker on InstagramWatch more episodes on YouTubeSupport the showFind more filmmaking resources

Thank you guys for listening—really appreciate your interaction. With the ones who have reached out, I know we're hitting our target market and I LOVE IT. Here's a teaser for our episode next week; til then, Happy Thanksgiving to you and yours!

If you're going to use Joker lights, you might want to consider adding the Kurve 6 Kit to your lighting rig. This week David George reviews the Kurve 6 from his latest project. He shares what he liked and didn't like about the light and the issues they had on set.Watch to see if the Kurve 6 Kit will work for your next project. Pros:Easy to pack in caseCrank to tilt light Change focus Cons: Spill light on the sidesKey Points::06 - What is a Kurve product1:44 - Pros & ConsLinks:Kurve 6 KitJoker 800Joker 1600Briese lightConnect with the Practical FilmmakerFollow The Practical Filmmaker on InstagramWatch more episodes on YouTubeSupport the showFind more filmmaking resources

Avoid most basic mistakes inexperienced Production Assistants (PA) make on set. This week, Tanya talks with Jennifer and Monique about their experience as a PA and what they learned to help you become an experienced PA.  Jennifer "Jedon" Hatcher and Monique C. Shaw started out as PA's and saw a need to help aspiring PA's prepare for their first opportunity on set. In this episode, they share why they wrote the book Walkie Check? Good Check - The Complete Guide To Being A Production Assistant In The Television & Film Industry, the first thing PA's should learn, and working non-union.Listen to be prepared for your next opportunity to become a PA. Key Points:1:50 - How they got started7:28 - Why help PA's with your book11:13 - Different PA roles 15:37 - Difference between commercial work and a feature 19:05 - First thing for PA's to learn23:16 - When something goes wrong 28:45 - No unions for PA's37:40 - What do they want to create42:37 - How much do PA's make43:40 - Most interesting set locationLinks:First Team Productions Walkie Check? Good Check - The Complete Guide To Being A Production Assistant In The Television & Film IndustryReport Abuse on Set First Team Pros on InstagramWhitney LaneImani Woodard Instagram Connect with the Practical FilmmakerFollow The Practical Filmmaker on InstagramWatch more episodes on YouTubeSupport the showFind more filmmaking resources

Sometimes you have to try different things to find your passion. This week, Leslie Foster shares his journey into experimental filmmaking. They talk about going to grad school, paying the bills, and the difference between the film and art world. Listen to Leslie share how he found his passion with experimental filmmaking. Key Points: 1:37 - How Leslie got started4:38 - First film job5:34 - First art installation8:13 - Going to grad school at UCLA11:51 - Goal after grad school15:00 - Leslie inspired Tanya to get into film17:37 - Paying the bills24:29 - Difference between film and art world28:53 - What do you look for when curating art33:32 - Where to find a community when getting started 35:49- Reliable old piece of gear37:43 - New Gadget that revolutionizes work40:44 - Overcoming something going wrong 45:03 - Shifting from film to art47:04 - Future projects 50:50 - Experimental film definition Links:Leslie Foster PatreonLeslie Instagram Fusion 360EvernoteWebsiteConnect with the Practical FilmmakerFollow The Practical Filmmaker on InstagramWatch more episodes on YouTubeSupport the showFind more filmmaking resources

Come hang out! Sunday Nov 7, 1p PST/4p EST - Go to our insta, @practicalfilmmaker and click the Link in Bio to RSVP.

Joining a union can be expensive, but is it worth the investment?This week, Saul Cervantes, Local Union 728 member, shares why he joined the union and how it's helped him achieve his career goals. Saul talks about why he joined the union, what it takes to join, and the looming strike in Hollywood. Listen to see if joining the union is the right investment for you to achieve your career goals. Key points:1:21 - How he got started3:11 - Strategies to achieve his goal4:01 - Difference between rigging and striking4:31 - Why he joined the Union 7285:24 - Qualifications to join the union7:37 - Joining another union9:17 - Hollywood Strike12:17 - Safety on set14:57 - What he looks for in a beginner 16:35 - Skills to develop 18:56 - Tools he uses on set20:50 - Reliable old tools21:25 - Favorite new gear22:19 - Current project25:16 - Why you shouldn't go to film filmschoolLinks:ShittyRigsShot Designer Connect with the Practical FilmmakerFollow The Practical Filmmaker on InstagramWatch more episodes on YouTubeSupport the showFind more filmmaking resources

Is the SmallRig a better solution than a full cage for the Canon C70?This week David George talks with Nick Evenson, Creative Director, who shares why he opted for the SmallRig over a full cage for his Canon C70. Listen to see if the SmallRig will work for your C70. Pros: ⭐️ Magnetic tool easily unscrew your base plate⭐️ Easily mount top handle⭐ 2 cold shoes⭐ Easy access to camera controlsCons:

Korey Pollard is a 1st Assistant Director in the Director's Guild of America and shares stories of working on Jack Ryan, The Orville, and 9-1-1. He discusses his recovery from addiction and trauma, and his passion for education. Listen to Korey and Tanya talk healthy boundaries in the entertainment industry.Connect with the Practical FilmmakerFollow The Practical Filmmaker on InstagramWatch more episodes on YouTubeSupport the showFind more filmmaking resources

Are the Astera NYX bulbs worth the extra money?In this review we cover the ins-and-outs of the Astera NYX bulbs to see if they are worth the extra investment. David George shares what he likes and dislikes about using the lights on set and few quirks you might come across when setting them up for the first time.Listen to see if the Astera NYX bulbs are worth the extra money .Pros: ⭐️CRMX Radios or cumin Radios built in⭐️Control from app on your phoneCons:

Easily make your way on set to become a PA. This week, BJ Pasinger shares tips he used to get on set to become a PA. In this episode BJ shares how he got started as a PA, networking as an introvert, and how it's okay to make mistakes. BJ's resume includes STARZ show “Vida” and HBO's “Insecure” and Netflix's “Never Have I Ever.”Listen to this guide on how you can become a PA in Hollywood. Key points1:39 - How did he get started10:10 - Difference in day playing and getting staffed14:10 - Networking as an introvert 18:47 - Working on mental health21:57 - Starting out as a PA24:23 - Getting lost with Zendaya28:04 - 10 years to get started30:41 - Biggest surprise when getting started33:50 - Strategies for moving to a writing gig 35:41 - Using Twitter for Advice37:39 - Changing scripts on set39:35 - Cues on what works & what doesn't when writing 43:25 - Gear that makes his job easier51:22 - Future projects LinksJulio Zepeda Episode Lucas Tanaka EpisodeKorey Pollard Episode Raul Martin Romero Episode Final Draft Surveillance HeadsetRun A Better SetBJ Pasinger InstagramBJ Pasinger TwitterConnect with the Practical FilmmakerFollow The Practical Filmmaker on InstagramWatch more episodes on YouTubeSupport the showFind more filmmaking resources

The Nanlux Dyno Series 650 C is a solid light, but its accessories may pose some challenges on set. This week on Gear ‘n Gadgets, David George reviews The Nanlux Dyno Series 650 C. David shows you a few accessories, how to control the light unit, as well as some things to look out for when putting it together.Listen to David share what he likes and dislikes about the Nanlux Dyno light.  Chapters::10 - Case:35 - Softbox3:08 - Power Supply4:10 - Junior Adaptor 4:34 - Control Unit & DMX Controls5:58 - Advantage over Skypanel 6:05 - Final Verdict Links:Nanlux Dyno SeriesRolling caseNanlux Octa Softbox for Dyno 650C (4')Connect with the Practical FilmmakerFollow The Practical Filmmaker on InstagramWatch more episodes on YouTubeSupport the showFind more filmmaking resources