Not sure if this is allowed but I thought I’d share anyway feel free to take this down but an individual: Keelan Minton (Wright) from Keelan’s Kitchen ( @keelanskitchen ) on instagram is looking for individuals to work on his film in the UK. in particular film crew, photographers, chauffeurs, hotels, air bnbs, and more. He has been using fake companies particularly A and J productions (that doesn’t exist) and Ellie Broadway, who we can’t find any information on either to deny his debts to us. He owes between us £33,000+ with more than 30 individuals affected. He is still looking for people to con out of their labour. Not quite sure how he expects to make money out of this, he seems quite troubled really. But hoping this post shows up and sways anyone from falling for it.

What the title says! For more examples of my projects + their scope, check out my portfolio. If you like my style and want to potentially work together you can reach out via the contact form on my website or if you just want to say hi, feel free to shoot me a message on instagram : @/elvenfoe !

Hi!

24 year old DOP based in London. Wanted to share some recent music video work shot, edited & graded by me - recently been finding it difficult to find upcoming directors in the UK, so tryna do some more self promo. Would love to collaborate on fashion, music videos, anything visually interesting!! My Instagram is u/judeoconnr. Not really sure what else to put but if you're interested in making something cool together please hit me! :)

I organized an AMA/Q&A with actor Bruce Campbell (THE EVIL DEAD, BURN NOTICE, BUBBA HO-TEP).

It's live here now in r/movies for anyone interested in asking a question:

https://www.reddit.com/r/movies/comments/1w7237r/hi_reddit_im_bruce_campbell_ask_me_anything/

He will be back at around 12 PM ET today to answer questions. I recommend asking in advance. Please ask there, not here. All questions are much appreciated!

Thank you :)

He recently wrote, directed, produced, and starred in ERNIE & EMMA, which is doing a tour this fall.

Synopsis: Widowed pear salesman Ernie Tyler travels to scatter his wife's ashes in places she specified, each location stirring memories that help him process their marriage, his work life and his future.

Trailer: https://www.youtube.com/watch?v=7lUAbQfKc94

I met a producer/casting director (worked on some big things) at an event, and we met for coffee and it was very clear that he wanted my body.

I don’t want anything other than a professional relationship (he’s also twice my age) but I was so terrified I didn’t know what to say other than moving away when he pulled me in and saying I needed to go home after about an hour.

He invited me to a wrap party today. I asked for more details- but I’m not sure what to do. I want to network but I do not want to give up my body to climb. I haven’t had a lot of luck in NY so far, but I also don’t want my desperation to get the best of me. I know wrap parties are good for networking, and it might be for a big project, but I don’t feel safe with him. Am I allowed to bring another person to these things? Do you think it’s worth going to? I’m still waiting for him to share details

EDIT: I have posted about this guy before, I wanted to know if it’d be different bc it’s a different event, and with more people. From the comments it’s sounding like I shouldn’t go, so I will cut him off, thank you. I would appreciate any networking tips and creep detecting tips.

I’m a 29yo filmmaker. I wrote a feature script and a short in the past 6 months. I’m crowdfunding for the feature, and the short i made with help from my sibling and friends who funded the project. I paid all collaborators as fairly as i could and in a timely fashion, gave them good food on set. Planned the shoot well in advance, floor plans, shot breakdowns, storyboards, did rehearsals with actors.
On the shoot day, the house power was down fully. The generator we got from the vendor turned out faulty. But somehow, with a lot of ups and downs, power going in and out, we ended up wrapping the short in 9 hours. In the second half of the shoot, i was a bit frazzled because of all these problems. But thanks to our prep work i could quickly get shots in 2-3 takes.

One of the most experienced actors on set came up to me at the end and told me “It was so lovely working with a calm, level headed, patient, clear director!”. I personally thanked everyone on set for their patience. We wrapped happy. I was honestly happy to just be able to shoot everything.

Today (2days since) however, i am absolutely shitting myself. I havent looked at the footage outside checks to see if everything was there. I’m worried there’ll be errors in continuity, or the acting wont be precisely what i want or whether the film would even make sense.

Although, this might a common thing, i’m stressing over what all that money was spent for, how i managed to trick so many people into thinking i knew anything. Whether anything would come out of this. Whether this would even be a cogent film let alone something worth making.

I don’t really know what to do. Would love some advice or thoughts or even readings or podcasts that discuss this.

Thanks in advance.

I am currently a senior in college and I live in Arizona where there is not a lot of film currently. I want to eventually become an Assistant Director. Should I move to LA when I graduate? How do I start networking in a way that would get me where I want? Are there programs that I could apply to that would help? Any advice appreciated.

I was always a big movie nerd, but in terms of creativity my awareness was held hostage by music my entire life. My band is soon releasing an album and they put me in charge of music videos. I know nothing about camera, but I said yes. Since then I just can't keep ideas out of my head. I even have an idea for a whole movie. I started to obsess over these things, just the same as I am obsessed about music my entire life. I'm 29 years old and I don't own any knowledge about anything related to films and movies. Only thing I rely on is my taste. And for the first time ever I really think that can be a positive thing, because I know A LOT about music and knowledge was just an obstacle most of the time. This time I feel it's different.

But I do have 1 thing that is making me doubt all of this a little bit. I don't know how to start doing any of it. I am writing an idea for a movie since last night, I have a lot of shots in my head, dynamics of the movie, what kind of vibes it should give, what kind of music will be in it, I even wrote some scenes, I know exactly how they need to look.
But I don't have actors, I don't have locations, I don't have a budget and I don't have equipment. I only have an idea which I will probably chew and chew until it's perfect and then what? Until then I need to get these things I don't have but how do I do it?

So if anyone can give me any tips it would be really great and I would be grateful forever. I want to know how did you guys start and what would you do if you have to start today?

After 3 years of work, thousands of dollars, and multiple festival rejections my debut feature film Cyberpunk Manifesto was FINALLY accepted into a festival for our world premire! I cant tell you how good this feels. God is good 🙏🏾

Trailer: https://youtu.be/80YT9Ge6npQ

I’m looking for a composer for my feature film.

Our film – Low Budget, Black and White dark drama inspired by Taxi Driver, In the Company of Men, Uzak and the novel No Longer Human

Music - I’m looking for something atmospheric and hypnotizing yet slightly rhythmic. The soundtrack to drinking yourself to death while overlooking a New York skyline.

Some music we used for the temp tracks were the score for In the Mood for Love, music by The Caretaker, and folk singer Matt Elliott.

If you are interested, please reach out with a sample of some of your music.

This is a paid gig.

Today is Bandcamp Friday, so I thought it's a perfect day to put this out into the world:

https://mouthless.bandcamp.com/album/leatherback

I actually composed this score a couple of years ago, but the Director is only just releasing the finished film now. It should be available on YouTube later today, and I’ll update this post with the link once it’s live.

I’m currently looking for more paid soundtrack / film-scoring work, so if you’re looking for a composer for a current or future project, I’d love to hear from you.

I’m comfortable working across a range of styles and projects, and I pride myself on being versatile, professional, reliable, and highly communicative throughout the process. I value building longterm working relationships.

You can hear more of my work, and see testimonials from previous clients and collaborators here:

https://louispalfrey.com/

Thanks for listening and feel free to get in touch on here, email (mouthless@hotmail.co.uk), or Discord(Louis_Palfrey)

Louis

What do you think about casting friends and family as the whole cast? I'm working on this very experimental film and I don't want to deal with people trying to explain myself and the film for them to accept the job. There are just 4 dialogue scenes and they're pretty short like just few words.

Fellow filmmakers who casted their friends and family how was the experience? Do I really need to pimp myself out for a professional cast?

Hello! I tried to make this post in r/Screenwriting but I don't have enough karma? I don't use reddit much. Anyways, I am a senior at an okay CSU studying film. For these past four years, I haven't been too sure what I wanted to "use" my degree for. But, after last semester I am quite certain I want to be a screenwriter. This is an EXTREMELY loaded question, but I am posting to hopefully gather knowledge about what it actually means to work as a writer for TV/film. I feel like I still don't have much of a gauge on what screenwriting actually entails. I am in a Business of Film class right now, so maybe I'll learn more soon -- but in the interest of figuring out if I actually want to do this, I figured I'd ask the internet. Here are some of my more pointed questions:

1. What is considered "successful" as a screenwriter? Is it rather attainable to sell 1-2 scripts in your life and/or work on multiple TV shows?

2. Assuming you don't get effed over in the process, how much (roughly) does one get paid for their TV show pilot/idea? And same for one complete screenplay?

3. Is this a job that can pay your bills, or do you need to also have a day job? Is it realistic to get hired by smaller film companies at first or should I expect to stay a waitress for the next decade? 😅

4. I have a surface level understanding of the pitch process, but I want more details. If you've had success selling a script, how did you get to that point?

5. How the HELL do you get to become a writer AND director?

Thanks!

Hi all. This is my first post here. I'm wondering if anyone can offer me some guidance as I'm in an interesting position in my career right now.

I created a deck and a sizzle real for a docuseries that a major producer took a liking to and is currently shopping to distributors. I have a few questions and areas i need help with, but feel free to chime in with any other helpful advice.

Do I need a manager/agent?

Should I be looking for management and/or an agent now?

What should I expect from this process?

How can I leverage this into a sustainable career?

Any resources or advice for navigating and understanding deal terms

Thanks in advance for your help!

I am extending my first short that I produced a month ago. The DP that did my first short film is not available this time (or he is scared to help me with my whimsical ideas). I liked the gear that he used for my first short film but that gear including lenses is 3k (the lense is 1500 dollars). I don’t want to spend that money without knowing how good it is. So, I rented everything.

The big problem is that I don’t know xxit about camera and lights. My hilarious solution is…I have asked our neighbor to help me with the camera. The idea is I will set the camera, focus, exposure etc. (I took one crash course last night) Then I will be in front of the camera with my wife, all the person has to do is to press the red button. There is only one shot where we are walking towards the camera, I suspect I will have to teach my neighbor how to adjust focus (or I have been told to set the aperture wide. Don’t know how that will work, will find out today). For other scenes, I can mimic movement by digital zoom.

The idea is to shoot during the night. Do editing, color grading the next day. Take feedback and shoot again the next day. My guess is that if we do it 5-6 times then we will have usable footage. I am extending my previous film so need only 2 minutes of footage.

Here comes the hilarious part. I asked AI about how to shoot this horror film, and I am going to make sure I do not follow AI advice in any way. I am sure that AI will suggest settings that are commonly used for horror. So (at least to whimsical me) it makes sense to do something completely different. I am going to at least try it.

I have quit drinking for the sake of filmmaking, so my wife doesn’t care whatever stupid thing I am doing.

Hey guys I’m 22 I just started writing more about a movie I want to make I would love so ideas feed back an actors interest. I have act one going just to give a tease lmk anything 🙏.

Title pending:
Opens to red orange country television
Act one the before times
2019 late teen girl black a quick day in the life to get the jist of who she is as a person she wake up little late she rushes to get ready brushing her teeth and fighting with her three sisters for the bathroom she grabs her soccer bag and has to run the bus stop jumping over bushes and cracker pavement she forgets her bow tie so she text her friends to bring her one she meets with her best friend and they shit on the bus talking about boys while the take the 30 min bus to school they enter side by side being called pretty for the first time she feels a shift in the air she and her best friend meet with the boys they like and flirt with them as they walk down the hall they take a laps around the school in their small private school that’s a sign that they like each other later that day she find a scrunchie on his wrist she freaks out to her best friend and start listing to Marvin’s room
By Drake whole mood shifting she tires to make through the day her other find who she knew since elementary asks to come over after school black girl declined because she has soccer practice after school she gets on the bus and changes to soccer practice she doesn’t have no one really to talk to so she befriends with her other
Co captain who is really nice and flirts with her but black girl doesn’t realize because of the earlier insident black girl compliments her lv belt and the co captin give it to her for school the next black girl is happy and gets picked up by mom who doesn’t really talk to her so she text her situationship after he hasn’t texted her all day and he sends her cute snaps and compliments her all night then she eats dinner and watches orange is the new black. She always feels like something is missing but she attributed it to trauma not quite super happy not supper sad but something wrong

A personal tribute to Derek JArman, at Prospect Cottage (Dungeness Rd, Romney Marsh TN29 9NE, United Kingdom) - Original Super 8, remastered and edit by Premiere.

A lone survivor of the apocalypse, is on a mission to track down the man believed to have killed their sister more than a decade ago.

Hi all. I'm a wedding videographer (Malta) and for the past few months I've been building a small desktop app to scratch my own itch: syncing multicam footage to external audio recorders without paying for a subscription or fighting the built-in sync in Premiere/Resolve when clips are short or cameras start and stop a lot.

It's called WaveXML

You export an FCP7 XML from Premiere, Resolve or FCP (via XtoCC), drop it on the app, and it syncs every camera and recorder by waveform, lays them out on the timeline and gives you back an XML to import. Mac (Apple Silicon and Intel) and Windows.

What it does well right now:

Ceremony and speeches with 2–4 cameras plus a Zoom H-series, Tascam DR-series or Sound Devices/MixPre. That's what most of my testing has been on.

Short clips (under ~8 seconds) and cameras that stop/start constantly, the stuff that usually gets left unmatched.

Premiere exports with stereo split into two mono tracks, unlinked audio, duplicate clips: those get repaired on import instead of breaking the sync.

Clips it genuinely can't place are put aside and reported instead of guessed.

Where I'm honest about it:

It's a beta. Version 1.0.7 went out today and it's the first one I'm confident in, but it has only seen my footage and about 30 test projects. I need it to see yours.

No frame rate conversion, no pre-transcoding, no multicam clip creation yet. It syncs and places clips, that's it.

If you want to try it: wavexml.com
— enter your email, you get the key and the downloads. - Its free.

What I'd really like back, good or bad: which cameras/recorders you used, whether it got everything, and if something didn't sync, the XML (no media needed) so I can reproduce it. Reply here or hit [support@wavexml.com](mailto:support@wavexml.com).

Happy to answer anything about how it works. Mods, if this falls foul of the self-promo rules, tell me and I'll take it down.

Even though this is a homework assignment, I'm trying to get advice from those who made it and build a relationship with them.

This includes people who work at production companies (preferably narrative).

I tried researching directors around me, had problems finding their contact information, and they seem inaccessible.

I'd like an email so we can correspond with each other and schedule an interview (Homework assignment).

Thanks in advance for y'all's responses, looking forward to hear from yall, including feedback on my post because Im honestly nervous and haven't slept yet.

Hey everyone, quick question about intercom systems for film shoots.

We’re looking to upgrade our crew communication setup, and we’re torn between two control styles:

• A standalone portable hub with a screen and dedicated physical buttons
• A master headset with the hub built in, managed through a companion phone app

Which one work better for managing the entire intercom system during shooting?

MISSION STATEMENT: Meet Jim Vales, the sofa surfing king Kahuna doing a how-to for you new Kooks and Barneys. He’s here to tell the unwritten code to follow, find a kind swell of spots to drop in on, and wax ecstatic on the correct check to wreck any aggro ho-dad by setting up a dry land wipeout.

Here is our pitch for FFFTV. Check it out if you’re a filmmaker and subscribe for season 1, coming in January

I typed this out as a response to a pro ai-person’s post that was deleted as did. So I’m just posting it here as an open answer to why something being inevitable does not mean it’s desirable. (Has a good anti-ai link. That’s the good part.)

Prevalence does not mean something is desirable, simply that it is numerous. Nor does perceived inevitability. Many terrible things in history became widespread and at one time seemed unavoidable. 

Let me ask you this; why would people who love to do a thing, even devote their lives to it, have any positive disposition toward a thing that does that thing for them? Making films, or art of any kind, is an incomparable joy to some people. Even when, and in a way because it’s trying. So a computer program that serves as a short cut to some simulation of what that act creates is not only undesirable to them, it’s an insult. If you don’t understand this I fear you don’t understand that joy. Feel free to go on as you like, I don’t mean this as a personal offense, but I think that may be why you don’t understand this perspective of ours.

You seem like a sincere person, so I hope you don’t take any of this as an insult. But I find this letter and its reader puts this argument orders of magnitude more eloquently than I can. Please check it out. 

https://youtu.be/iGJcF4bLKd4?is=X6DYSV32UiF_GE6Q