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You know what? I get your message, this board seems to be becoming more and more dominated by the "more my people" type: Hobbyist video makers too stupid and too invested in their own ignorance to comprehend or accept information being given freely and who apparently feel compelled to defend...

Stereo is not "perfectly acceptable", it's an actual requirement, because many festivals can't play anything but stereo! However, according to the OP we're not talking about many festivals, we're talking about the major festivals and Oscar requirements, and they require actual film specification...

Except I'm provably not a loser, I work in film (and video, incidentally) for a living and have done for many years. Your ignorant opinion is worthless and it's obvious who the loser is going to be, only you're too dumb and up yourself to realise it! Knock yourself out maintaining your insults...

And they should have taught you at grade school the difference between fact and opinion, and before that they should have taught you to read! I've already told you that I'm not dictating anything, industry bodies (such as the SMPTE) dictate what film is, so all I'm doing is trying to explain to...

Huh? I'm not dictating anything, I'm just telling you what the standard is, as YOU asked!! Now you're just making it up/lying, I said no such thing!! I said the MAJOR festivals, as did you in the OP! The vast majority of festivals are not the major festivals, in fact most of them aren't even...

Video is stereo, film (today) is at least 5.1. The absolute minimum for a DCP (SMPTE or DCI) is 3.0 and 5.1 is the de facto standard minimum. What's really absurd is that you want to make films but you don't want to accept what film is! Name a film (other than a doco) which has won or been...

There are somewhere around 12,000 film festivals in the world, so I'd be surprised if there were not at least a few which are "rigged". Also, it depends exactly what you mean by "rigged", the major festivals are/can be quite political. No, you're paying for consideration to be accepted for...

Depends what you mean by "would work". I've done a lot of films and shorts for major festivals, in fact I finished one just last week. They are always, in my experience, in at least 5.1. An upmixing process would work, just not very well. 3.1 would also work but again, not very well. Sure, you...

No, if you are in the main event for one of the more major festivals you'll need a 5.1 mix. Some of the major festivals have out of competition showings, in local bars, cafes, the foyer etc., and in that case stereo would be fine but actually screening in a cinema, you'll need a 5.1 mix. The...

That appears to be a contradiction. Are you saying you're going to try to "learn how to do everything" by buying and using all the equipment needed to make films? If so, you're going to need tens of thousands in spare cash just to buy extremely cheap/basic equipment or hundreds of thousands to...

That depends on the details of the contract between the copyright holders and whoever is commissioning the series (RTE presumably). Most likely the rights to the series would end up being some sort of split between an experienced commercial producer/production company and RTE, with you (the...

Unfortunately, although frame rates appears like a fairly simple subject it can get pretty complex when you need to get into the guts of it. Some/Many NLEs try to simplify this area while still providing all the functions which may be required. Simply: Pulldown is the act of turning TV/video...

As Alcove said, "Absolutely". What stereo do you want to record? Generally on set the only sound which is stereo is room reverb and background noise, both things you should generally be trying to avoid recording! There are a few specialist occasions when one might want to record stereo but...

Nope, I don't see your bewilderment. 1. "Golden Arch" is not a 30 year old musical term, it's a term which has been used for far longer. 2. Whichever of the terms used over the centuries to describe the idea/concept/theory you choose to use, the point is that it's not an absolute rule. Plenty...

No. It was often referred to as the "golden arch" although the term "golden ratio" was also common but I can't say I've ever heard it called the "golden spiral". I came across it about 30 years ago, when I was at conservertoire studying to be an orchestral musician. In music it's a structural...

Careful! If that doctorate paper had passed over my desk, I'd have failed it! The figures are completely incorrect: Listed budget does not represent the total investment, in some cases the listed budget only represents a tiny fraction of the investment. Secondly, the difference between budget...

1. I agree with the "how long is a piece of string" comment. As a general rule you get what you pay for, you pay peanuts and you get monkeys. Of course there are exceptions, you can pay a decent amount and still get a monkey or very rarely you can pay very little and get someone very good. IME...

Ah, now you're starting to think like a commercial filmmaker! :) While I have no experience of filmmaking in the Philippines, I do have considerable experience with regard to filmmaking in "foreign" countries. As directorik mentioned, it's entirely common and has been done for decades but, not...

1. Personally, I prefer a cardioid for narration/VO, with the mic only about 6" from the talent. A bit of movement is OK, several inches is not. 2. Play her the narration you've recorded, point out the problem and give her the options: 1. Record it again, with less movement. 2. Get someone else...

It was not condescending intentionally, just a statement of facts. You stated that you thought it was "good". Hand held recorders are general purpose audio recorders and not specifically designed as a filmmaking field recorder. A low budget hand held recorder is even less likely to be "good"...