record keeping because those numbers tell the editor this shot for long so this scene so scene one take one that shot belong to scene one or scene twenty two cetera how much the slate cost this slate cost around for your fifty bucks you can find slates for twenty to fifty dollars they're also a smaller sleek on inserts plate that doesn't have the clapper and those are eight to ten dollars the big thing is never use a sharpie on your slate it will be put a permanent mark on it and ruin it what is the proper way to slate a lot of people the first time they go out they really just hammer it down there you don't need to hit it that hard just let gravity go through because the mike is right offering what's the proper time to slay well usually on th do that say marker is because in sinking it really helps the editor he goes the next sound he can hear is the sound of the slate being slack the other thing you're going to need to know is where to put the slate if it's a big close of a somebody just probably put it right from their face but if it's a big wide shot you want to take the slate in closer to the camera so the editor can later read the numbers and help them in editing if it's way back here guy in the edit room will be able to read those numbers and can't stick talk to the camera operator about the placement of what you write on the slate well the first thing you want to do is put the title the production that way at footage your tape gets lost your footage gets misplaced we'll see that all that belongs to that production then you know who the camera op is who the director is the date it is the day night is in and i wes let's talk about the numbering of the slate you want to put the role number which is really tate number three scene number and the take no for your first slate is going to be something like scene one take one or if you're starting on scene twenty your movie everything twenty one and as you go through the scene you're going to add a letter to that it's going to be one apple and one baker one charlie and you work your way through the alphabet if you run out of letters i e get the z then you go back and you say one apple apple one apple baker so on and so forth there are certain letters you don't want to use  obvious once i show you these examples you don't want to use the letter i because it will turn scene one into scene eleven don't use the letter o because suddenly it turned scene one into scene ten don't use yes because it looks slate when you're not rolling sound because sometimes you want to speed through a scene and he said we don't need sound for this will just add it later so how do you do that where you just hold the slate up and then hold but clappers together so they can't be clapped another way to do that is just put your hand in there and that shows the editor that this is not a sound scene to find sale to sync with it another thing may happen is you may have to do a slate at the end of the shot tell the tale slate because it's physically impossible to get the  set have it ready to go don't make your body stand around while you're frantically writing numbers and letters honestly it made me feel young like things were fine again you know like drinking too much or hanging out of bars and maybe going to work a little hung over yeah and making out like two kids behind the bleachers well anyway then we go to this movie you remember that clint eastwood movie mystic river and had sean penn and ten robins  and yeah kevin bacon anyway i'm sitting in the theater and this movie is amazing and i look over and sheila is so bored and this is the kind of movie with no car crashes  explosions but it's still just so old grippy and i'm looking at her and she feels me looking at her and she looks over to me and i say do you not like this and she says no can we go i am so bored anyway we lasted for a couple more days but at that moment i knew it was over  it was the first time in my life i felt old counting creeps up on you you don't realize it all at once but i just can't be with someone who doesn't get it you know and i call this the mystic river effect ever since then every time i go out with a girl under thirty i i reach this moment where i just know it's over because she's just too immature for me you know it's  not about the movie it's not about the movie it's about what the movie represents it's about relating to someone i mean really connect the idea for the self or monologues came from this idea i had that i wanted to take actor monologues which are usually something shot poorly where the actor is just you know talking to a camcorder with no background in particular and combine that actually with the opposite with really great cinematography so where to have an actor monologue but have it looks really good talking with my friend mickey fisher the idea i had of the way to make that still work as a kind of narrative was to have a use a cell phone so we're getting one side of a conversation so the monologue is kind of justified by talking on the phone i had worked with brian michael blogs previously on another short with a huge fan of the eight and five web series and this idea came from  story a friend of mine and told me that and i just convert it into a monologue from for brian do we shot inside studio thirty five movie theater and just outside of the movie theater on in the middle avenue in columbus was nice to get that magic hours shoot  the environment  i suppose yeah we work on my brother and i work on movies and stuff so we do