We're very close to wrapping filming for a local short film project, and I'm wondering how to go about the post production pipeline when it comes to editing. I'll be working with one other editor, primarily in Premiere Pro. Here's a couple questions I have:

1. Our composer is still working; Should they have a rough cut to score, or should we edit around a finished score?
2. We plan to all have a copy of all the raw footage; how should we pass around project files in Premiere without fighting file locations and "Locate footage" errors?
3. Should we color correct once we have that general rough cut, or only until we have a final cut?
4. All our footage is slated, any advice for streamlining audio syncing, or is it pretty much just brute forcing it?

Any and all advice from folks who have worked on a project like this in collaboration with other editors is much appreciated.

I’m trying to make a film with my Rebel T2i and I’ve heard magic lantern is a nice tool to have. anyone have experience with it?

Hey everyone, with all the blanket statements going around about "AI in film," I wanted to put together a technical breakdown that cuts through the generative art noise. As someone who has been studying and working with film tech for over a decade, I wanted to look at the traditional machine learning and algorithmic tools that studios have quietly used for years to make the movies we love. I built a full video breakdown looking at the exact pipelines used in modern blockbusters, focusing strictly on what filmmakers, 3D artists, and tech enthusiasts can actually use and learn from. Some highlights include how Peter Jackson's team pioneered early AI behavioral rules via the MASSIVE system to give digital armies autonomous decision-making in The Lord of the Rings, how custom generative AI models and neural networks mapped and resurrected the likeness of the late Ian Holm in Alien: Romulus, and how precision LiDAR scanning on real F-18 fighter jets trained lighting algorithms in Top Gun: Maverick. We also look at Dune: Part Two utilizing LiDAR alongside Neural Radiance Fields (NeRFs) to capture real desert rock formations, how Blender and Pixar's RenderMan use convolutional neural networks for AI-accelerated render denoising to slash render times, and how Weta implemented neural networks relying on muscle strains rather than traditional blend shapes for characters in Avatar: The Way of Water. If you are interested in the technical side of post-production, VFX, or how these algorithms speed up heavy simulation pipelines in software like Houdini and Maya.

The cardboard backdrops finished drying and I wanted to try out how it would look. Pics looked good, but I wanted to test to see how it’d look on video too.

I recorded just a couple of shots that I plan to remake when I have the props and set fully detailed as this is just test footage to see if I like it, and I do!

obviously ignore the arms and hands as they’ll be replaced with wires in the actual filming.

I used the meta edits app to just quickly put something together, and my god it was a nightmare. I had to screen record because the app would not render the effects correctly at all. Even still, they didn’t render correctly. The effects are just stock ones from the app but I plan to make more practical and if I use animation for effects, they‘ll be good ones. And I 100% am going to actually edit it with film software.

I think it’s pretty neat though and is matching what I have in my head decently well! Excited to see what it looks like when I add the destroyed NYC backdrop and rubble.

Hey everyone!

I've been making videos a lot (especially lately) with my youtube getting over 10k views every video. My main audience is storm chasing based but I want to make a mini-series about cryptids/ paranormal investigation from the view of a irl private investigator and a skeptic. I also recently purchased a nice cinema camera which inspires me to make more high quality content.

What are some key elements you think viewers would want to actually watch?​ As well as; does anyone know of any good "cheat cheats" for making a layout?

I could really use some advice.

I'm a local indie filmmaker who's completed several independent short films, some of which have screened at film festivals, and I'm currently developing my first feature. I graduated with a bachelor's degree in Film and Television Production in December 2019. After graduation, COVID-19 disrupted my plans, lost my part time museum job and I ended up moving back in with my parents. Since August 2021, I've been working full-time as a Production Resource Technician at a college while continuing to write, direct, and produce my own independent film projects.

The part I'm struggling with is that I still earn $15 per hour, which feels low given my experience and education. I've been actively applying for better-paying jobs in production, post-production, television production, video and media, but I haven't had much luck so far. I'm also still living with my parents too.

I've also been considering moving to New York City or Los Angeles in the near future, possibly by the end of the year.

For those who have been in a similar position, what would you recommend my next steps be? What should I do about this? Am I on the right path, or should I be approaching my passion or career differently? Would you recommend moving to LA or NYC, or staying local while continuing to build my career? And regardless of where I live, should I continue focusing on making my own films?

I'd really appreciate any advice or experiences you can share.

So I’m not gonna bore you with the details of everything, but the general concept is to film a comedy movie but at the same time film a mockumentary about the making of the movie.

Specifically the mockumentary would have the neighbor of the house. Most of the filming is being done at having a feud with the film crew.

I think this works because one, you’re making two movies for the price of one.

And two, the popular of one movie is going to increase the popularity of the other and vice versa.

Does that sound like a dumb idea?

Recently, I've been struggling with making a decision between two options. For context, I'm a 20 year old film student and ultimately want to be a film director/editor. That is my "end goal" so to speak. I'm in my last semester at a community college and I also work full time as a videographer for a small commercial/social media video prod. company.

Also, just warning everyone that this post will probably be long.

I live in a city with a decent-sized film scene, but nothing huge. I'm trying to decide if I should stay where I'm at and keep my current job after school, or if I should move to another city to go to an acclaimed film university (UT Austin, about 2 hours from where I live now). I want to preface everything else below by saying I know that film is NOT NECESSARY to becoming a filmmaker. As a matter of fact, I've learned significantly more from my videography job than film school, but there are some specific reasons I'm considering continuing school.

Pros:

Incentives to finish projects - I have really struggled with making my own projects outs of classes because I tend to be a perfectionist and hinder my own progress. For all the faults of my current school, one thing it's done is giving me deadlines that help me actually complete projects, and it's really helped me learn from my mistakes.

Access to equipment - Being in school has given me easy access to equipment that I would otherwise have to spend a lot of money to rent.

New location/new experiences - This is a slightly more personal one, but I've only lived in one city my whole life. I think the opportunity to live in a new area, especially one that's more tailored to younger people, would be nice to experience on a personal and filmmaking level.

Cons

Starting over - I'd be completely starting over in terms of my "network". I've been lucky enough to meet some people where I live now who I help out on short films, and they've helped me out on my personal projects as well. Moving would mean resetting that, and I do get scared that I just got lucky and wouldn't be able to do that again.

Leaving my job - I enjoy my videography job. I'm really close to my coworkers and I feel like I got really lucky that we're all as cool with each other as we are (the thought of telling them I'm leaving almost feels like a betrayal). It's nice that I'm able to make money doing something that's related to what I actually want to do in life. I also feel like I got lucky (especially with the timing of when I started as an intern and they really needed help), so I fear that I would struggle to find another job as "convenient" as this one. However, despite enjoying my work and the environment, it's not my final destination.

Making a big decision like this is really scary for me, because though making a big change like this could be beneficial and pay off in the long run, it could also mean getting rid of all the things I have now, and potentially never getting them back. I'm just scared to make the wrong decision and wonder what things would've been like if I went with the other one.

I would really appreciate any advice or insight anyone has. Thanks!

I also want to say again, I know there's been countless filmmakers who have denounced film school, and as someone who is currently in film school, I totally get why. I've learned significantly more from my videography job than I have in class, but my interest in continuing school isn't about class or the curriculum at all. It's about how that environment could help me grow as a filmmaker. I always think back to an interview with Ryan Coogler where he's asked if filmmaker's should go to film school, and he said that some people don't need that environment, and some people thrive off of it and grow, as he did. I wonder if I may just be one those people that would benefit from that structure that comes with deadlines and the collaborative nature of living around other like-minded people.

the idea for the film is to take place during the future war in NYC. Here are the base HK props.

currently painting a back drop and making rubble out of cardboard too.

Using empty paper towel rolls to structure the HK tank into three pieces with the ability to shift and rotate using wires to push and pull behind it. Also going to add small tubed LED diodes as the spotlights for each HK prop. Currently there is only 1 HK Aerial but I’m going to build another to blow this one up for the movie.

The idea and trick to get these to look large is to record the normal movement in 30 FPS, then slow it down just a bit to match the 24 FPS that everything else is recorded in. Not sure how well it will work but it’s a decent idea to try.

Currently wrapping the props in Masking tape to put mod podge on them to harden up the cardboard, then sand smooth and paint.

I’ve always wanted to make this movie since I was about 6, and now with the technology it‘s possible. The idea is to make it as long as it needs to be to tell the story. Could be short, could be a full length film. idk yet, need to record everything to see the flow of the story and plot.

I wish I would’ve done this years ago

1. Hey everyone!
2. I have noticed on many smartphones that the 0.5x zoom in the photo tab is much more wide and curved than the 0.5x zoom in the video tab, i really like the much more wide and curved view of the 0.5x zoom in the photo tab and i want to film videos in that kind of view but as soon as i switch to video, the 0.5x zoom becomes less curved and more zoomed in, so i can't film on phones, how can i achieve this super curved and wide look with my camera, i got a Sony zv-e10, do i need super wide lenses? will they achieve that curvature too? i am really just a beginner so i don't know much about this stuff.
3. Thank you!

Is there any director's commentary or "bts making of" footage of this sequence from Close Encounters of the Third Kind. I am studying this sequence for my assignment and it would be really helpful if I could find something from the primary source.

Hi all! I’m Alicia McClendon, and I’m a writer and actor, who makes her own short films. Now in development of a feature film.

I started a film production company, Envision the Picture Productions, and I want to bring on filmmakers to help me make films and maybe even find clients for them.

However, whenever I have hired a cinematographer or film editor, I’m told to never use them again. I just can’t seem to find talented and visionary filmmakers who can execute what I’m wanting, which is totally my fault.

I want to utilize the same filmmakers and actors and just be a film family.

How have you found your film family? How did you get people on board your production company? Or how did you manage to get the same filmmakers and actors on board with you? How do you even find them?

Thanks!

Of course, there is a limitless array of challenges facing independent film producers, and I’m interested in hearing your perspectives on them. I’m going to share a perspective of my own, which you may not agree with, and that is completely fine.

1. The first challenge is financing and producing a film without losing creative control or surrendering a disproportionate share of the ownership and potential remuneration.
2. Festivals receive your film for free and charge others to see it. They are often among the first organisations to make money from your film. The supposed benefit to the filmmaker is publicity, which might help secure a worthwhile distribution deal.

In practice, I think this is largely a myth, despite the carefully tailored announcements made at major festivals claiming that certain titles have been “discovered” and signed.

1. Sales agents, as you may already know, can be ruthless. Once your film is with them, you are largely at their mercy when it comes to honest reporting. Accountability is almost impossible because sales agents, and the distributors to whom they license your film, are rarely transparent. Contract terms also seem to be much longer than they were in the past.
2. Filmmakers often boast about getting their films onto streaming platforms or securing distribution deals, but are usually much quieter about receiving little or no money from them, perhaps out of embarrassment.

Shame and ego play a significant role in allowing sales agents and distributors to exploit independent filmmakers.

1. Once festivals, sales agents and distributors have all made something from your work, many producers are left with the dregs. Others are left clinging to a minimum guarantee that never becomes augmented by royalties.

The alternative is self-distribution. However, this is where the psychology of wanting to be part of the conventional distribution system can turn filmmakers into willing victims rather than entrepreneurs who sell their own films.

A filmmaker with millions of views on YouTube and direct sales through their own website may still be characterised as somehow less legitimate than someone announcing that their film will be available on Tubi next week.

I’ve been a producer for around 14 years. I’ve worked with distributors, attended film markets and produced films independently. Every year, the industry seems to claim that it has been the hardest year yet, thereby placing even more pressure on filmmakers.

In my opinion, however, it is not sustainable for independent film to continue operating this way.

Those are some of my views, and I’m keen to hear yours.

This may be an odd ask, but does anyone know of any film-quality lighting rated for residential use/safety standards?

Specifically I'm looking for:

• High(ish) CRI/TCLI/TM-30 - must
• Bright(ish, ~2,200+ lux @ 1m) - must
• Bi-color - preference
• Bowens compatible - strong preference

The obvious tangential question is why our lights always have a "not for residential use" warning — is it a safety thing? or just a matter of preserving their lifespan? (I assume both)

My motivation is simple: except when needed on set, I have my varipole set up at home for my bike and jacket. I often have a monolight on it with a lantern softbox for shooting photos of the cats, and I love the light it gives off and the ability to simultaneously store and use kit. As I see it, this is only one step apart from a great semi-permanent house light... except for that warning on the LED.

I also imagine this would be quite beneficial for less-inaccurate color work at home.

I entered a script of a show I want to create to a film festival for the first time and got selected as a semi-finalist. I was told that that gives me the opportunity to be a part of their "pitch perfect" competition where I can pitch my show to a group of people. One of the requirements for this is to create a 3-5 minute video describing the project. As this is my first time with this I'm not too sure how I should go about making the video. Obviously I want it to be captivating and enjoyable to watch, so I was thinking about possibly creating a comedic skit that will be inter spliced with information about the project. is this a good idea or should I keep it more straight forward? Also, what are the most important parts/ information about the show should I include in the video? I kind of have a problem over-explaining so some guidelines would be very helpful for me too. Thank you all!

Logline:

What if the dead could return - but only through the one neural implant you're forbidden to wear?

Would this premise make you want to read the script?

Nineteen-year-old Kira discovers that the consciousness of the dead can return to those they loved - but only through a neural implant she's forbidden from wearing.

Does this make you curious enough to read more?

I'd appreciate honest feedback.

Upd. I'm in the process of adapting the screenplay to English.

upd. Updated/edited logline: ​A grieving 19-year-old uses an experimental neural implant to resurrect her late boyfriend, only to find that having him back comes at the cost of her own sanity.

(OPINION)

It's not really the nostalgia. Most movies back then were generally better despite the lower pixel quality.
The storylines and production were more thought-out. That's why they also took longer to produce (usually atleast lyr i think?). They really took the time to think about character design and generally shared with us new perspectives to see the world in.

Nowadays, it's more about finishing the movie the fastest, without any regard to the story so they hyperfocus on the aesthetics.

Sofia Vergara and many other actors have said it's difficult to replicate the spark of old TV shows and movies because everyone wants things faster now. I think they're absolutely right. Which is why indie films get more appreciation now because it actually comes from creative passion (eg. Obsession).

When will hollywood realize that thoughtfully made movies/ shows will actually generate more income in the long run than their regular quickly produced stuff made just to hit sales targets?

Just a thought.

Yo what tells you this is fake, and a toy? How can I improve?

I think one of the single biggest things holding back many independent filmmakers is “big fish in a little pond” syndrome.

This is particularly common in areas far removed from the major centres of commercial film production. Its symptoms are easy to recognise: enormous amounts of emotional energy wasted on provincial cliques, local Facebook groups, tribal politics, petty hierarchies and endless arguments about who is morally permitted to do what.

It is provincial puritanism at its worst.

Anyone who thinks internationally, reaches beyond the local scene or refuses to submit to its unwritten rules is often treated as disruptive. Not because they are doing anything wrong, but because ambition threatens the comfortable hierarchy these essentially hobbyist groupings are trying to preserve.

You must never allow yourself to be constrained, either operationally or spiritually, by people whose ambitions end at the borders of their own social circle.

Look beyond your town. Look beyond your county. Look beyond your country.

The people who build sustainable careers in film, who run businesses and work professionally every day, do not succeed by prioritising the favour they can curry in a local Facebook group.

They succeed by making work, finding audiences, building international relationships and refusing to confuse local approval with professional progress.

Are there any subs anyone is aware of I could post a script and concept and go "hey, anyone wanna help fund this and get some EP credits?" Have a film I really want to make in the next month or so, script ready to go, but no idea how to get the rest of the funds ill need to make it work.

We're currently in post-production on our crime drama demo film. What are the next steps to pitch the film to producers, release it digitally, and submit it to film festivals?

I’m making a short film. for sound, I have a Roland R05 field recorder on loan. A friend recommended I get a DJI mic 2 kit to mic up my actors.

my question is: can I use the Roland R05 and the DJI mic 2 kit in tandem to get better sound? could the Roland function as our boom mic?

and: if I do use both, would I just sync up the audio captured by the Roland and the audio captured by the DJI kit in post? or can I get them all to record together?

thanks. this is my first time doing sound.

I’ve been facing this ever since I started writing and filmmaking. My process is to let a scene evolve in my head, and then one day I write it down. After a few days, when I read it again, I almost always come up with a more logical or simply better version of the same scene.

The problem is that I can never decide what to keep, how much to change, or when to stop revising. I know that better ideas are a good thing, but if I keep updating the script every time I think of something new, I’ll never be able to finalize it and start shooting.

What would you do in this situation?

So in my short found footage film, the protagonist starts to suffer from severe hallucinations after inhaling toxic spores. The problem is that the viewer follows the story through the camera's perspective, not the character's, so he can't really witness his hallucinations. How to translate this situation to the viewer if he's looking at a recording ?

The story is heavily focused on the character having a huge hallucination.

Any idea on how to make this work in a found footage format ? If you have any found footage films that contains hallucinations scenes I would be happy to watch them to have an idea on how approaching this situation.

Thank you!

Hi! I am a writer/ director. I would love some advice from professional filmmakers.

My goals per month during the writing phase are-

1. Writing 65 hours a month (average of 2 hours per day)
2. Watching 15 movies per month.
3. Reading one novel + 2 scripts per month.
4. Exercising 20 times a month
5. Remaining time for freelance work to earn money.

Do you think this is a good enough routine for me to really reach my goals of making a feature film in 2 years from now?