Worked in film since 2004, starting out doing production sound. Credits on 10 features, too many shorts to count.
Quite right. If you watch or work on a lot of micro-budget films, one of the big problems people have is an inability to effectively establish story geography, so characters teleport from scene to scene. OF course there are times when you want to do that for story economy, but if you are trying to set up any sort of tension through parallel editing or so, failure to establish the story geography early in the film means that things like chase or to-the-rescue sequences don't play well - even if they're contained within a single location like a house - because the audience has no feeling for how far the traveling character has to go or how far s/he is from the destination, draining all the urgency out of the scene and making it feel contrived.
Of course you 'feel you missed out on something great' - that's part of the marketing. That's why it's 'patent pending!' - to convince you that it has value. But I think you should let it go and move on to other resources. Books are more work and less stimulating to read, but the extra effort pays for itself over and over.
And while it can be useful to have a workshop-format course on story, it can be useful to have on photography, on pre-production, on production management, on post-production, on distribution, on marketing....it never ends. Some of these things can be workshopped, but often the best education comes from a willingness to sit down and pore over deliverables documents or study contracts. For example, want to get your documentary on public television in the US? You could spend a lot of money on a workshop, but you'd be better off printing out everything on this page: http://www.pbs.org/producing/red-book/ ...which tells you really basic things like what length your program has to be for broadcast, what technical standards you need to use and so on. This sort of stuff is imposing and Not Fun, but knowing the constraints you have to work within is one of the key things that gives shape to your story.
Ultimately, a course in a box is a so-so substitute foryour personal exploration and for contact with other filmmakers. Your most valuable asset is your capacity to become obsessed by something and want to learn everything about it, whether that's a camera manual or a social issue. Cultivate that, find someone else with a similar capacity for obsession, and work on solving problems together.
duplicated - the website software is creating an additional post every time it autosaves, so longer comments are copied multiple times because the edit window is open longer.
Stick to your guns! Technology is a great tool but it is no substitute for good material, and I have seen many technically impressive projects that were stultifyingly dull to watch. It is valuable to know the workflow inside out so that people can't BS you, but it's perfectly OK to delegate that job and expect people to deliver on their commitments. A good DP can be the backbone of a great film production, not all DPs are equal or good team players. Sometimes they need a reminder that they're not just there to add to their demo reel.
My goodness, how rude. It's not the director's job to know every last thing - it was also the responsibility of the DP and editor to establish a viable workflow ahead of time, and it was the DP's responsibility to plan for the storage requirements rather than running out of SSD or SD card space on set. I can't guess exactly which media she meant; SSD is only one letter away from SD, and you are wrong about the price of SD cards - they can go up to $900 for a 512gb U3 model.
But the director said up front that she wasn't technical. It's the responsibility of her crew to support vision, not to just do whatever they think is best and leave her holding the bag. I do think the lesson here is not so much 'don't shoot raw' as 'don't let your crew sweet talk their way out of their responsibilities.' If there were problems reading DNGs on a daily basis and the DP didn't straighten that out immediately it was deliberate, probably stemming from an unwillingness to have his work scrutinized and critiqued.
The sad fact is that I have seen a lot of DPs act this way over the years. I was in computers for many years before moving into the arts and it's a disappointing truth that many people in technical roles a) are not really that knowledgeable and bullshit their way out of awkward situations, and b) use the technical knowledge they do have to throw their weight around.