A mentor will provide insight and will often direct you toward a successful outcome. This doesn’t necessary mean your mentor will enter into a business relationship with you, but he or she may offer necessary encouragement, advice and influence which will help you get closer to your goal. Your mentor will be there to answer questions.

Have you ever heard the phrase: “When the student is ready, the teacher will appear?” Even though this sounds mystical, for me, finding a mentor has always happened without planning.

When I graduated college, one of my most influential mentors appeared in my life. After sending a resume and cover letter to every film and video company I could think of (and getting no response), I finally landed an interview with a guy named Joe Surges. Joe gave me my first job in the motion picture industry.

It didn’t pay very well, but Joe was willing to teach me everything he knew. He coached me through the easy times and pushed me through the tough times with unrelenting encouragement. When I planned my move to New York City, Joe made some phone calls.

Joe connected me with a friend who then connected me to another friend who offered me my first job.

Later, I was working on a feature. When our project completely fell apart, I found myself stuck in New York with no money and rising bills. I thought it was the end of my movie making world. Heck, I even thought it was the end of my apartment. But at that time, it was Joe who told me to quit complaining and get back to work.

His advice was the best.

Then, a year later, prior to his passing, Joe told me something that’s been rolling over and over in my mind ever since. He said, “You never know which ripple will hit the shore first.”

Since that time, whenever I’m hit with a new challenge, I play those words over and over in my mind. And through this practice, I’ve conditioned myself to find the opportunity in every obstacle.

While Joe taught me a lot about writing, directing and producing, it was his values, his life standard and his expectations which influenced me to create a higher standard in everything I do.

If it wasn’t for Joe’s mentoring, I would have never gone to NYC, would have never made a movie and would have never fell on my financial face—and recovered. Consequently, I would have never made the move to California, produced features or written these words.

Mentors have been there. They reach out and help you grow as a person. And I believe mentors are essential for our success.

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In 1992, she created the Roy W. Dean Grant Foundation in honor of her late father. To date, Carole’s grant and mentorship programs have provided filmmakers with millions of dollars in goods and services and have played an instrumental role in creating important documentary films. She is the author of The Art of Film Funding: Alternative Financing Concepts and The Art of Manifesting: Creating your Future.

Carole stopped by Filmmaking Stuff to share some ideas about filmmaking.

Jason Brubaker
Could you tell us a little bit about your work and how you got into the industry?

I was married to a cameraman and went to the set each Friday night and watched them unloading those little pieces of film that I termed “short ends.” I started a business of buying them from the studios and selling to independents, thus supporting the birth of the independent film market. I found that studios even sold new film because cinematographers wanted all one emulsion so I took the 10 or 15K feet of new and sold to people like Cassavetes.

Jason Brubaker
Wow! It is amazing how those “little pieces of film” changed the motion picture industry.

Carole Lee Dean
After a few years of selling “short ends” major video companies came to me to market their stocks and I expanded into tape. I started with $20.00 from the grocery money and sold it when my sales were at $9 million a year to Edgewise.

Jason Brubaker
This is an example of taking action on an idea and bringing it to fruition, much like a movie producer.

Carole Lee Dean
Yes, I believe in manifesting. It’s a process of releasing a potential that was already there. That short ends business was just waiting for me. Thank heavens I did not know how to do a corporate business plan or I would have known that I needed a lot more money. My belief that I could do it overcame the lack of money. I bought it and sold it the same day and most importantly I always saw it as a big business.

Jason Brubaker
It’s important to think big.

Carole Lee Dean
Look at a piece of coal; it’s a black rock, right? Well, if you ignite it you have heat and light, that potential was there you just had to release it. The same applies for filmmakers.

Jason Brubaker
Yeah. I think the key to dreams is internal, not external.

Carole Lee Dean
I tell them to realize their genius. How many people would give their right arm to be a scriptwriter? Most filmmakers are writers, producer’s even actors and editors. You are Pure genius and its important to know that so you have faith in yourself and your ability to make and finish your film. By seeing your film on a daily basis, knowing each shot, You are projecting into the future a vision that you can release with your faith and confidence. Fred Alan Wolf, physicist says that when we are daydreaming and visualizing clearly we are creating that future and that a handshake across time occurs and somewhere in the future it happens just as you saw and felt.

Jason Brubaker
I have experienced what you’re talking about. Sometimes things come into my life when I least expect them.

Carole Lee Dean
My father was responsible for the student discount. I spent every Sunday with him and He began this relentless weekly request for me to give a student discount. I agreed to 3%. He said it was not good enough. Then I went to 5%. Still not good enough so finally to keep peace I agreed to 15% discount.

Jason Brubaker
I’m sure the independent filmmakers were appreciative!

Carole Lee Dean
When Fuji gave me the exclusive national distribution of their 16 & 35mm stocks I set a goal for myself to sell in 9 months and Fuji said, “Oh, that’s too high you will never hit that.” I did hit it and I asked them to give me a larger discount and my priority that I told them was non negotiable was a 15% discount for students. I got this discount and after the first ad was printed, Kodak matched that 15%!!!

Jason Brubaker
And that care for supporting indie filmmakers has stayed with you. The Roy W. Dean Film and Writing Grants have become some of the most well known for independent filmmaker. Could you tell us what criteria you look for when you evaluate potential projects for a grant?

Carole Lee Dean
I want great stories with compelling characters. We fund shorts, indies and docs that are under $500K budgets. The films must be unique and make a contribution to society. Look on the site under grants for prior winners for the type of films we fund. We just started taking features and I want to see one win.

Jason Brubaker
How long does the evaluation process take?

Carole Lee Dean
We have the first cut of finalists on the site in 60 days and your name will stay on for a year, which is very good PR. Next cut is made on the site. We highlight the top 15, then top 10, then top 5 and announce the winner. All this takes about 2 to 3 more months. Filmmakers go through 3 sets of judges.

Jason Brubaker
Let’s say you’re a filmmaker and you’re not selected? Do you offer any sort of consultation or advice to those filmmakers?

Carole Lee Dean
Everyone who applies gets a free 15 minute consultation with me. We can talk about financing your specific film or how to improve your package or marketing or, anything you want. This grant is very dear to me and I like to see you improve from entering it. Our aim is to help you get funded.

Jason Brubaker
In your book The Art of Funding Your Film, you provide a very comprehensive overview of the funding process. Given all the rules and SEC regulations, what advice do you have for filmmakers who have never funded a movie – where do they get started?

Carole Lee Dean
It all starts with a great story. That’s the most important part, work on the store, give me compelling characters that I want to spend 90 minutes with. Write and keep writing and rewriting. Send your work out to really good screenwriters for review and listen to them. Read “Save the Cat,” my favorite book on writing. Take your script to the highest level possible.

Jason Brubaker
And once you have a great script?

Carole Lee Dean
Then go to work on your business plan and find good comparison films that you can easily defend. Be honest with your return on investment, always say hypothetical ROI and show one film in comparisons that did not make a profit. Put yourself in your investor’s shoes. Would you take a million from your parents to make your film? Do you seriously think you can pay it back? Keep investors interest your priority.

Jason Brubaker
You have been very passionate about helping filmmakers manifest their dreams into reality. I read your book long before I had produced my first feature. And I can remember times when everyone in my life seemed to think my movie making goals were pipe dreams. What advice do you have for filmmakers who are working to overcome self doubt?

Carole Lee Dean
If you were making movies 20 years ago it would cost you 10 times more to make a film. So ask yourself, “why was I given so much talent and born during the third most important time in the history of mankind.” Here you are with a great opportunity and all that talent. Do you really believe the universe would put you here at this time and not finance you? Of course not.

Jason Brubaker
That is a good way to think. Especially on those days where self doubt creeps in.

Carole Lee Dean
You need to believe in your talents and know that the money will come. Do all those things on your “to do list” and keep seeing your finished film. You will find doors open where there were no doors before. You are your greatest asset.

Jason Brubaker
I know you have been trying to find ways to bring filmmakers together to share ideas.

Carole Lee Dean
From the Heart is now producing events and I will give all of your members a 15% discount on any of our products and events if your people put GRANT in the coupon code.

To learn more about the Roy W. Dean Grant or some of Carole’s upcoming filmmaking events, check out the website.

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Break Down and Schedule
Breaking down the script means you go through your screenplay, number each scene and highlight each element, including locations, characters, props, make up, wardrobe, picture vehicles and special FX…

All of these things cost money. And once the script is locked, any modification you make to the story or schedule, no matter how minor or major, will subsequently impact the budget.

If money is tight, you might consider performing your own breakdown long before you bring on a 1st AD. If you go this route, I suggest doing a web search for Gorilla Film Production Software or Movie Magic (formerly branded as Entertainment Partners). With these tools, you’ll have some help as you break down and schedule your movie.

In the event you want some more information about the mechanics of script breakdown and film scheduling, my very accomplished movie industry friend Peter Marshall has put together one heck of an online course. I have included a video below that provides more detail.

If you’re interested in learning more about Peter D. Marshall’s Script Breakdown and Film Scheduling Course For Indie Filmmakers, you can CLICK HERE or just bookmark this page for a later time. Additionally, if you know other filmmakers who might benefit from Peter’s insight, spread the word by clicking on one of those little buttons below.

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Progress through the eyes of a space man. Somehow this relates to filmmaking. Image via Wikipedia

So you want to produce an independent movie? Great. I think this is the best time in history to finally make your indie movie.

Why? Let me provide you with 3 uplifting reasons to help you make your movie now:

1. First, the cost of production has gone down dramatically for micro-to-low budget movies. These days, technology provides ways to get more bang for your buck. You can make your movie look super expensive, add some kick-butt FX and also get an awesome, high resolution image.

Assuming you’re super crafty, stuff that once cost millions can be done for under 10K.

2. Secondly, once you complete principal photography, you can complete your entire post product with the power of a laptop. To give you newbies some perspective – nearly a decade ago, you would originate your content on film, not HD. After that, you would then pay to have the film processed, color corrected, transferred to video, edited and then transferred back to film. You would also handle your sound design in much the same way. (And to really give you perspective, I had to physically “cut” my film on something called a flatbed editor.) UGH.

Anyway – today you can walk to your local Mac store and get a laptop and software that does this for you.

3. And finally, once you have a polished, finished movie, getting your work to the world is much easier. With some good internet marketing and the use of social networking tools, you no longer need a middle-man to get a return on investment. And while digital self distribution is still rough, we are only a few years away from VOD becoming the norm.

Anyway, I hope you are totally jazzed about making your movie. Sometimes self doubt and procrastination can really get in the way of good ideas. If you can help it, don’t let it. Please keep pushing forward. Believe me, there are many people out there making movies and making money making movies that are far less talented than you.

Just believe in your ability to make your movie now. Trust me, when you get to the other side you’ll wonder why you waited so long!

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Why is this?

You probably have your own opinions. But I think the major reason more writer-producers, writer-directors and full fledged screenwriters do not finish what they start is based on two very real factors:

1. Fear of rejection. (Well, after you peel away all the excuses and reasons for procrastination.)
2. Lack of a step-by-step screenwriting system to make your good ideas into great movie scripts.

So I wanted to announce a new screenwriting system. Based on my decade making movies (and prior to that, reading and writing coverage for a producer in New York City) – I have created a product that will provide you with a step-by-step, fill in the blank approach to writing a movie script – from the perspective of an experienced indie producer.

If you decide to utilize the system, you will see that the system consists of two parts. The first 50 pages (and over 90 minutes of MP3 Audio recording) is going to provide insight on movie scripts from an indie producer’s perspective.

The second part will provide you with a step-by-step, fill-in the blank, screenwriting template that will allow you to take your ideas out of the air and put them on paper faster than you ever thought possible.

And as you work through the system, you’ll find out what producers look for in a script. You’ll know the 7 surefire ways to get your read and not recycled. And you will also learn a thing or two about producing indie films. (Many of you are writing today, but would like to produce and direct in a few years.) By the end of this, you will know if you should sell your screenplay or produce it yourself.

If you’re interested in getting the system, or learning more, CLICK HERE

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Image via Wikipedia

In case you haven’t noticed, becoming a professional filmmaker requires persistence, tenacity and an unyielding ability to overcome obstacles and keep going, even when doing so seems crazy… I wanted to share a little tool I have been utilizing for years.

The tool is called the Filmmaking Success Mindset. The FSM is a set of filmmaking declarations that, if repeated over and over every day – will help you condition your thinking for the better. Your thoughts will influence your beliefs and your beliefs will influence your actions. Put enough actions together and you will begin to forge a new life as a filmmaker.

If you like this sort of thing, I have provided a PDF download. CLICK HERE to get it. Print it out and place it on your refrigerator or bathroom mirror. You can then review every day to improve your thinking.

What I think about becomes real.

I play to my strengths. I support my weak areas with talented collaborators.

I take advice from people who have actual experience.

I spend time with people who make me feel better about myself. I always work to make others feel good too.

Following dreams is easier with money in the bank. I save what I can.

I keep an idea book and write down movie ideas as they come my way.

My word is trust. I never break my word.

I deserve Hollywood success because I am creative and passionate.

I always bring my ideas to fruition.

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Screenplay Image via Wikipedia

… And actually finish your first draft.

Over the past year,  I have received countless movie pitches. Some were good. Some not-so-good. This is pretty typical in LA, as a lot of people say they have a screenplay. But the sad reality is, hardly anybody has a finished movie script.

In some cases many filmmakers and screenwriters don’t even have the first draft for a script.

So I wanted to announce a new screenwriting system. Based on my decade of making movies (and prior to that, reading and writing coverage for a producer in New York City) – I am in the final stages of production on a product that will provide you with a step-by-step, fill in the blank approach to writing a movie script.

I am also going to give you some insight as to what happens on my end. As an indiependent film producer, who is constantly in the hustle, I am going to provide you with some insider producer perspective on what we look for in a screenplay.

Like, how do you get your work finished? When do you know it’s ready? What do producers look for in a script? What are 7 surefire ways to get your script recycled before it’s read? And I want to address all of you who wrote a screenplay and are asking – now what? Would you like to sell your screenplay or produce it yourself?

When finished, this system will provide you with a step by step action workbook and companion MP3 audio. I will also throw in the option for some other filmmaking stuff – not sure what that is yet. I’m thinking this screenwriting system will retail for around 67 dollars. (I am still working that out.)

I will probably provide a deal for my newsletter subscribers as soon as the product is live. So if you haven’t already signed up for my newsletter…

Do you have any questions about your movie script? Feel free to comment.

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Guy reading the News! Have You heard the Filmmaking News? Image via Wikipedia

MovieMaker Magazine has published a list of the “50 Best Blogs for Moviemakers.”  Out of the gazillion filmmaking websites, Filmmaking Stuff made the cut.

You might not know too much about me just yet. But whenever I’m not working on my next movie, I put a ton of focus and heart into this website. It is my ongoing mission to provide you with filmmaking advice to help you make your movie.

None of this would be possible without you, dear reader. I am honored that you have taken the time to stop by and take action in your filmmaking career.

I wanted to thank you for your readership.

Now – Get out there and make your movie now!

Sincerely,

Jason Brubaker
Filmmaking Stuff

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Today Norman stopped by Filmmaking Stuff to share his thoughts on filmmaking and let us know about his upcoming filmmaking seminars, which will be taking place in various cities all over the country.

Jason Brubaker
Hi Norman, thanks for stopping by today. With all your upcoming filmmaking seminars, are you finding any time to sleep?

Norman Berns
If I got more sleep, I’d stay up half the next night watching old movies. Fortunately, my wife is an early riser and I’m a light sleeper. Perfect combination. Gives me long days.

Jason Brubaker
Over the past five years, technology has become more affordable and distribution is open to just about anyone. For some, these changes are good. For others, not-so-good. What is your advice to those of us looking to make a living in the movie industry?

Norman Berns
Do it.  Suddenly production has been democratized. Everyone can make a movie. Even using a cell phone. Now this doesn’t make everyone an artist and it doesn’t make about 99.9% of the home-made films art. Fortunately, there’s a place for them. YouTube and Ego Sites are fine.

Jason Brubaker
These are great outlets for people who want to get audience feedback.

Norman Berns
The good news is that everyone gets to practice. That’s the important thing. That’s a good thing.

Jason Brubaker
I remember my first camera was an Arri BL. Back then, using an old 16mm camera was the only way to shoot a movie. And getting your work seen and distributed – that was a challenge.

Norman Berns
Suddenly technology has made Do It Yourself distribution possible, too. Most of the world has broadband fast enough to stream videos. The US is about 20th in the world – way behind the curve.

Jason Brubaker
It is an amazing time to be a filmmaker. But like anything else, even with advances in distribution getting your work seen is still a challenge.

Norman Berns
Distribution is still a hands-on job that takes a serious investment of time and money.  I tell people in my seminars that today’s indie filmmaker has to be in this for the long haul. If they’re not, they should sell their scripts to the studios or go into another line of work.

Jason Brubaker
Yeah. One of the things filmmakers struggle with first is actually making the movie. After that, making a return on investment. We aren’t selling ice cream in an Arizona summer.

Norman Berns
It’s that brutal. The universe may have films that will sell themselves, but most of us aren’t that lucky.  We need a plan and we need to implement it.

Jason Brubaker
In your upcoming workshops, you will help filmmakers figure out how to match their scripts and their funding. Can you describe why this is important?

Norman Berns
When I started my very first job (in a drug store), Nate Pickman screamed his gruff but sage “advice.” “You can’t shove two pounds of shit in a one-pound bag!”  I think a lady huffed out of the store before I could bag her toiletries.  But I’ve carried that line with me ever since.

Jason Brubaker
I know at least one producer who learned some of those lessons. (Yes, I’m talking about myself here.)

Norman Berns
You can’t make a five million dollar film for five thousand.  Or even for four million. I work with people all the time who can’t quite raise all the money they need to make their movie.  So they try to squeeze it all in anyway. Something’s gotta give.

Jason Brubaker
Like your lights. Your stunt crew. Your FX folks. Transpo. Craft Services.

Norman Berns
Ha. Yes. Now, of course, if the money is really close, it’s possible to just shoot a few longer days.  Or maybe shoot a bit faster for a while.  Problem is, if you do that for too long, your film just keeps getting worse and worse.  And the more you do it, the worse your film becomes. Until you end up with a broken bag and shit all over the cutting room floor.

Jason Brubaker
I’m so glad you brought us back to that. OK. So let’s say you start out to create a five million dollar epic and you can only raise four million… Then what?

Norman Berns
There’s a very simple solution to this. But filmmakers see it as the worst possible step they could take.  It’s not.  And they’ll be a lot happier if they do it.

Jason Brubaker
Okay Norman. I just hope this doesn’t involve another broken bag of something. What is it?

Norman Berns
I’m not going to tell you that.  That’s why I’m teaching a whole class….

Jason Brubaker
Such anticipation. Come on.

Norman
Okay, I’ll tell. Cut the script.

Jason Brubaker
Ouch. You gotta be off your rocker!

Norman
Right? WHAT! BLASPHEMY, they scream…. Nonsense. Unless you’re shooting “My Dinner with Andre” you have too many characters in your film. Too many locations, too. And unless you’re an old (and successful) hand at this, cut ten pages out of your script right now. I’ve never seen a script – never – that couldn’t be improved with some serious trimming.

Jason Brubaker
Cut the fat.

Norman Berns
Of course! If you have all the money in the world, you can just wait and throw those sections out when you’re in the edit suite. But unless you’re selling grandma’s diamond tiara to pay for your film, the script has to be trimmed before you begin. That’ll get the film back on budget – whatever that budget may be.  And you’ll have a better movie, too

Jason Brubaker
Would you say that projected Return On Investment also plays a part in budget size?

Norman Berns
Well, yes and no.  I mean to say, it shouldn’t. I want to make ART, so I really shouldn’t have to care what the ROI might be.

Jason Brubaker
Wait Norman – I need to remind you that your potential investors can read this.

Norman Berns
Oh, of course. Right. People with money… They care a lot about stuff like that.  So, in that case, the two have to match. I have to prove, at least on paper – that THIS film, MY film is a better investment than YOUR film.

Jason Brubaker
I guess I better get the fancy paper.

Norman Berns
Nothing is simple. Distribution is like the old wild west. There’s a new outpost every day.  And allies are few and far between. But if the projected ROI doesn’t fit the budget, it’s possible that budget is just too high. But it’s also possible the work has been done correctly and there are still more outlets for the film.

Jason Brubaker
More and more every day.

Norman Berns
Who would have thought that distribution on a cell phone would make economical sense?  Who would have thought that a film would be viewable at all on a cell phone? But you know, it does and it is. No, today’s version isn’t made for Avatar. But I routinely watch trailers on my Droid before I go off to the movies.

Norman Berns
ReelGrok is about to start optimizing websites for filmmakers so then can deliver videos on a mobile platform.  (Yeah, there is a formatting problem right now, but the solution is pretty easy.)

Jason Brubaker
You have a lot of experience helping filmmakers prepare business plans for their movie projects. Why is this important?

Norman Berns
Jason, would you give me a million dollars?  Aw, come on, man, please…? COME ON, I said please…. If you had the money and wanted to invest, I’ll bet you’d want to know what I wanted to do with your money.

Jason Brubaker
How about a wrap party and a premiere?

Norman Berns
Ha! Right. But also who’s involved and what the chances are for making a profit. Stuff like that. That’s a business plan. It’s just a simple outline of how someone plans to do business. And what’s for sale. And how there might be a profit.

Jason Brubaker
Thanks for emphasizing the words “might make a profit.”

Norman Berns
It is the right time for the filmmaker to start worrying about all the realities. Why is THIS film going to make money? Who wants to see it? How will income be gathered? Too many filmmakers rush to get started and never asked the most important questions first. Business plans give them that structure.

Jason Brubaker
There are some filmmakers who try to appeal to all audiences with a “four-quadrant movie.” According to some brilliant people in the studios, this type of movie appeals to all audience demographics. Would you also suggest that indie filmmakers try to appeal to everyone for maximum return on investment?

Norman Berns
LOL. Actually, that would be more like ROTFLOL.

Jason Brubaker
I have no idea what ROTFLOL means… Wait. Rolling on the floor laughing out loud?

Norman Berns
I saw a business plan for a film like that. “This film has been designed to appeal to men and women all over the world, from 16 to 60 and older….” I laughed so hard I never got past page one.

Jason Brubaker
That makes sense, since you were rolling on the floor. But all kidding aside, what do you suggest filmmakers do to make sure their business plan is chalked full of realistic expectations?

Norman Berns
I’d suggest that all filmmakers, indies included, appeal to THEIR audience. There are enough people in this world to make a huge audience for almost every possible subject. But try to appeal to everyone and the odds are good you’ll appeal to no one.

Jason Brubaker
A little controversy never hurts either.

Norman Berns
I was delighted to read that the Tea Baggers are out in force, picketing “Avatar” because it’s anti-genocide or some such boneheaded thing. Even a film that good, even a film that simple and direct can’t appeal to everyone.

Jason Brubaker
When raising money for movies, I noticed a lot of filmmakers take an ad on Craig’s List or some other public forum asking for investment dollars. Why is this not a good idea?

Norman Berns
It’s illegal. And investors don’t generally read Craig’s List for financial advice.

Jason Brubaker
What general advice do you have for someone with big dreams but no idea how to get started?

Norman Berns
Filmmaking has a hundred years of history. Start with that, then get back to me. Read every film book you can find. Read the scripts of successful movies. Listen to every film conversation you can hear, watch every movie over and over again until the story is gone and you can see (and understand) the individual shots.  Get a job on a film set. Get a job in an editing room.

Jason Brubaker
Fetch coffee…

Norman Berns
Right! If after all that, you’re still serious about film, buy a decent still camera. Shoot your first film entirely in stills. Lay them out one by one, like a gigantic storyboard. You’ll learn a lot about what you should have shot, what you didn’t need to shoot, what you need to do again. It’s incredibly inexpensive and provides great training.

Jason Brubaker
And it’s good fun.

Norman Berns
I have no patience for people with big eyes and no reality. Everyone has dreams. Only the smart, sharp, hardworking survive.

Jason Brubaker
How can filmmakers find out more about your upcoming Filmmaking Seminar?

Norman Berns
They can call me on the phone and ask me. 612-928-9900. Or send me an email. The stuff in this particular class is especially important. I know if filmmakers take this course, they’ll learn things that will affect their entire careers. It’s that important a class.

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If you’re interested in learning more about Norman’s filmmaking workshop in a city near you, please click the following brochure for more information:

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Image via Wikipedia

When I was starting out, one of my first jobs was working as a boom operator on corporate video productions and television commercials. If you’ve never boomed a project before, you learn a lot. I mean, you’re right there in the thick of things – you see the director, the DP and all the gaffers and grips. And it is your job to sneak the long boom pole within inches of an actor’s face, capture great audio and do all of this without making a shadow.

I had a good mentor who told me to take my job seriously. And I will never forget what he said. He said, “The eye forgives. The ear doesn’t.” For some reason most of us can tolerate some sub-par visuals. But when it comes time for audio, if something sounds off, you know it. And no, if you don’t have any more money in your budget – you can’t fix it in post…

As you work to put your projects together, please remember to get your audio right the first time.

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