Shutterstock now offers royalty free music with a license for $49 per track.
They have a new music collection that customers can use for a per-song fee.
Until now Shutterstock only licensed images and video footage. Music content is the logical next step.
After the launch the per track fee will probably jump to $79 and a subscription will also be offered.
Read the full story.
If you are wondering how to become a YouTube partner and take advantage of the many benefits and rewards like earning money, it is incredibly simple, free, and easy. It offers some extra features for your account that you can use to make a better channel. Taking advantage of the perks of Youtube partnership gives you extra functionality on your Youtube videos, channel, and profile.
It’s very easy to verify your account to become a Youtube partner. Starting on your Youtube channel profile click on Dashboard from the drop down menu at the top of the page and then click on Channel Settings. This will then prompt you to verify your account. Select your country from the drop down menu and choose a method to receive your verification code. If you opt to receive it by text message you will put in your phone number, wait for the text message code, and then put it into the form. Click Submit and then Continue and your account with be verified as a Youtube partner.
When you return to your channel settings page you will see that there are more features marked green as available for use. As a Youtube partner you can add longer videos, create content ID, add external annotation, and choose a custom thumbnail. You don’t even have to have any views, subscribers, or videos to verify your account as a Youtube partner so you can start using these exclusive features from the get-go.
Note that verifying your account is different than monetizing it. Choosing to monetize your account is to enable your videos to earn money through ads, either before the video plays, in the side of the window, or over your video. You can also opt to stream live events, although that is not immediately enabled by the verification of your account.
This is a sound production tutorial provided by the Light Film School. The objective of this tutorial is to outline sound design jobs in film and teach indie filmmakers more about sound production. The video offers useful tips and advice for the many indie filmmakers who often work on a limited budget, deadline, and crew. With some extra time, creativity, and a modest investment, an indie filmmaker can greatly improve the audio production standards of their film projects.
Who Works in the Sound Department?
Before getting into the audio techniques in earnest, the tutorial first covers the average structure of an audio production department. Sound production has multiple stages, with crew members performing the work at each stage:
Boom operators/Mixers: These people are responsible for the early stages of sound production. Boom operators capture the audio, while the mixers set the proper levels and recording of the audio. The sound that they capture on set is called production sound, and on many indie film sets, the job of boomer and mixer is performed by one person.
Sound Editors: The sound editor receives the production sound. This person closely works with the director to oversee how well the audio matches the overall soundtrack. The editor also manages the post-production sound team. The following people are managed by the sound editor:
Dialogue editor. This person works exclusively with the project’s dialogue track.
ADR editor. This person re-records any dialogue that couldn’t be captured on the set.
Background editor. This person lays in and edits the background tracks, whether simple ones or complex atmospheric tracks that define the environment’s acoustics.
Sound effects editor. These people research various sounds in sound libraries or record non-diegetic sounds. These are sounds that are not produced by the events within a scene, but are present to set the mood or tone.
Folly artist. These people handle the “folly” sounds like punches or footsteps. In other words, diegetic sounds that are the result of actions in a scene.
Music editor. This person will work with the soundtrack by editing and syncing the music into the project.
Re-recording mixer. This is the person who takes over the sound once everything is finished and mix together all elements to build a final soundtrack.
In larger budget films, these roles are played by various people, but on some indie sets, they’re played by only one or two people. Regardless, a successful sound production process depends on how well the boom operator and mixer are able to capture production sound. No level of sophisticated editing can fix bad production sound.
How to get good sound?
The film script and good location scouting are two factors often overlooked in getting good sound production. For instance, consider the scenes written into a script. Sometimes writers will put in scenes (like a daytime industrial setting) that offer too much noise. While writers don’t need to change their script to suit sound productions’ demands, it’s important that the latter think creatively and anticipate obstacles. Thus, investing time into location scouting is crucial to quality audio production. In addition, the sound crew needs to consider the kind of equipment they’ll use and where they’ll position themselves within a location, in order to get the best results.
It should be noted that while you can play around with the sound of a location during editing, you can’t isolate or delete bad sounds. It’s best to do a proper job of recording in the first place. Some people aren’t aware that certain sounds share frequencies with others. Thus, if you try to delete a “bad” sound in your film, you may end up changing the dynamics of the “good” sound because they share the same frequency.
Overall, there are many factors that go into good sound production, but the most important one is having all departments work together to solve problems. Below are ten tips for ensuring this:
1. Turn off all mechanical and electrical devices.
2. Close all doors and windows.
3. Scout for quiet times at the location.
4. Close the set and implement a “no talking” rule.
5. Allow the boom operator and mixer into rehearsals. This will help them figure out their sound levels and position themselves within the scene so they don’t cast shadows against walls.
6. Perform test recordings.
7. Capture wild lines you need to re-record.
8. If the scene requires crew to move around, have them minimize sound and impact by wearing soft foot ware like socks.
9. Test the noise level of your props and be aware of which ones are noisiest (bracelets, necklaces, phones, etc.).
10. Give sound recorders time before and after the shoot in order to capture room tone.
In many instances, sound crew have the heavy burden of being understaffed, pressed for time, and not given enough time to prepare. Just because this happens often, it doesn’t mean that it should. Good sound is the responsibility of everyone on the set, and it will only happen if the sound crew is given ample time to set up and test. In the long run, you’ll get a better production because of it.
Check out this video for various types of cinematography camera angles and movement techniques.
There are lots of great examples of shots you can use in your videos and films:
The Basics of Camera Angles
Every independent film maker needs to know the basics of camera angles and shots, and for those that are unaware of these basics we have developed a short guide to camera angles and how to use them.
Main Type Of Shots
Long Shots: Long shots are primarily used to show your subject in its entirety. If your subject is an actor then a full body shot will provide an air of distance and make your audience feel like an outside observer.
Medium: Medium shots are from the shoulders up and can be used to convey dialogue.
Close Up: Close ups tighten in on your subject if it is an actor, you would tighten in on their head and face.
Extreme Close Up: Extreme close ups zoom in very tightly on your subject and take up the entire frame of your camera.
Low angle: The low angle is placed at the feet of your subject looking up. It denotes power making your subject seem stronger or better than the object it is observing.
Bird’s Eye View Shot: This shot is perfect for showing the emotion of your character or viewing the scene from above in a god like way.
Dutch Angle: The Dutch angle is slightly off kilter and makes the scene seem uneasy and stressful.
How to move Your Camera
Now that you know the basics of camera angles you can now learn how to move your camera. For example, panning your camera from left to right communicates movement with your audience and sets up the scene. Tilting your camera up or down denotes movement and lets the audience decide for themselves what is happening in a scene. How you stand or what you use to shoot with also has a direct impact on the shot. The dolly shot is very popular and it uses a dolly to zoom in or out on your subject depending on the emotion you want your audience to feel. The crane shot also uses some added assistance by placing the camera on a crane and raising and lowering it according to the desires of the cameraman.
Why use these angles?
Different angles produce different emotions and psychology for your audience. Depending on how you move the camera, you can denote a dialogue structure, drama, suspense, or horror. Once you understand the psychology of film you can then produce movies that move your audience.
The academy award nominated director, Spike Jones, has been invited to the Ghetto Film School, to offer a free online film studies Master Class for the Ghetto Film School. This is a unique program where young filmmakers from around the world get together in order to discuss more about filmmaking and storytelling. Spike Jones accepted their invitation and held a conference, talking about this business and about the main challenges that they need to overcome. He responded to several questions and he gave them a creative assignment created by himself.
The first lesson he wanted to share with them was that every actor is different, so each one of them works differently. This is why a director should know how to give specific notes. Jones showed them the importance of the rehearsal, not only because they get to repeat together and see how it works out, but mainly because during that period the coworkers get to bond with each other, creating friendships and developing a common language. In this way, they’ll be able to get a better understanding of each other while working together at a project.
When it comes to the writing part, Jones had an interesting insight, saying that it’s essential to share the writing with the others. In this way they will not only get the others’ feedback, but they will also get their own feedback. He emphasized that by sitting down and telling someone a story, he gets the opportunity to actually hear it out loud. Therefore, he may hear what works and what doesn’t work. The same thing happens with the test screening. So those who want to work in this industry should share their ideas.
Working in the film industry may be exciting, especially because people get to do what they like. A great advice was the necessity to choose role models and to focus on great movies. He exemplified by saying that whenever he sees a great movie, he keeps it alive in his mind, taking it everywhere. Such a movie may rest in his mind for a week, a month, or even years. In this way, whenever he will need inspiration, he will go back to that movie.
Another essential thing that can be related to any kind of activity, and not only with filmmaking, is definitely the ability to make friends. After all, coworkers spend a lot of time together and it’s important to work in a relaxed and friendly environment. Besides the work with his team, he also likes to get the opinion of a group of writers and directors, mainly because he loves their work. Thus, he values their opinions so he tries to get a feedback whenever he finishes a script or when he’s editing a movie.
Between the questions posed during this conference, there has been a question about story boards. Jones expressed his personal opinion about these, by saying that they are important as long as there is a complicated sequence. Otherwise, there are many sources of inspiration and one shouldn’t stay too focused on a fixed idea.