I directed and edited the music video for the Die spitz song Pop Punk Anthem (Sorry For the Delay). The band were babies when this emo scene style was popular, but I was in a band on an emo label and remember this time vividly. We shot this on the Sony Venice, FX6 for b-cam and a pair of DV cameras. We actually used a fair amount of the dv cam footage in the performance as we were using primes on the Sonys. The band wanted to have an early 2000s aesthetic, so we went for a 35mm look for A and B cam as was the custom in that time, as supplemented with dv footage to keep us in the early 2000s mindset. The band basically sheds their bring 9-5 lives and becomes emo bullies. I toured on the Warped Tour for a few weeks and can attest these characters would have fit right in. Me wife owns a wig shop so we could easily source th right styles, although Ava, the singer, didn't need a wig. We shot this all in one location which is Firehouse Studio in Round Rock if you ever need a great space. I highly recommend checking this young Austin band out. These ladies are on a serious tear and their new album is incredible.

Hello, colleagues. We would like to ask for your professional support. We are a small team from Ukraine trying to break into the big world of VFX. Like many here, we work day and night, putting everything into our work.

We think we've done a great job: we've transported Will Smith into The Matrix. We would appreciate your honest feedback.

But, to be honest, our main goal is for Will himself to see it. For us, as a team starting out in such difficult times, it would be an incredible moral and professional boost.

If you like our work, please support us by reposting it on your social media. It will take you a minute, but it could change everything for us.
FULL VIDEO

Just got a Fujifilm X-T3 (to go with my X-T2 & X-A3), purely for photography purposes. But I was then thinking.... it does 4K 10bit (although in just 4:2:0, not 4:2:2 as I won't be getting an external recorder from it). Does it really make sense for me to still keep my old Blackmagic Pocket Cinema Camera?(the original Pocket, not the Pocket 4K)

Should I sell it, as would there be any reasons why I'd ever prefer the BMPCC now over the X-T3?

So a friend and I have made this film about a Cornish artist (that's South West England to you international folk) and we've been fortunately selected as a finalist for this Music Bed challenge where we got the music from. I'm interested to see what the Reddit world thinks of it. For context it was self funded and we shot it in 2 days on pretty basic kit that we own (FX6, A7iv, Mavic 3 and simple grip/lighting kit) It's only playing on their site ATM, but there are some other entries that are pretty decent as well.

https://challenge.musicbed.com/submissions/fwq0EB

Hello !

First I would like to warmly thank everyone on the Filmmakers subreddit for their support on the film. I feel like I learned a lot and it was the opportunity to receive encouraging criticism, share advices and discuss the place of CGI in the film Industry.

Some of you asked how SINGULARITY was done, so I made a little behind-the-scenes to explain a bit more of the process that led to the film. I tried to cover most subjects - but didn't get too technical. So, if there's anything I missed, please ask! I'll be happy to answer to every question. 

Have a great day,

Milo

Basically, I want to do the filmmaker equilevent of maxing the level on your starter weapon... Partly for budget reasons, partly for novelty reasons.

But its not something I know a lot about. I've heard Moondog makes some good products. Theres lots of stuff on Amazon that look affordable. I've even seen some on Etsy, which probably are not good but would be fun to try out.

Any advice?

Hey everyone,

I'm a producer with a boutique NYC production company and we are locking crew for a multi-camera documentary shoot this September. We are specifically looking for an experienced Location Sound Mixer with their own professional kit.

The Job: * Role: Location Sound Mixer * Dates: Wednesday, September 10; Friday, September 12; and Saturday, September 13, 2025 (3 full days). * Scope: Documentary-style coverage of a fast-paced event environment. You will be wiring multiple subjects with lavs and managing audio for a 3-camera team.

Key Requirements: * Must have proven experience in run-and-gun, multi-cam documentary or reality TV environments. * Must own/guarantee access to a professional kit, including: * A timecode-synced recorder (e.g., Sound Devices MixPre, Zoom F8n). * 4+ channels of reliable wireless lavs (Sony UWP-D, Sennheiser G4, or better). * An IFB/Comtek system to send a solid scratch track to all three cameras. * Knowledge of jamming timecode to external devices is essential.

Logistics: * Location: New York City (specific venues TBD, provided to hired mixer). * Rate: Competitive professional day rate + kit fee. Please specify your full rate (labor + kit) in your response.

To Apply: Please DM me with the following: 1. A brief mention of your experience with similar shoots. 2. The specific details of your sound package (list your recorder, wireless systems, and IFBs). 3. Your full day rate (labor + kit fee) and confirmation of availability for all three dates (Sept 10, 12, 13).

I will respond to DMs from qualified applicants to set up a quick chat.

Thanks!

I have been an artist and writer my entire life and my process has always been “vibe” based. Like I will listen to music and allow thoughts to flow, and something interesting naturally comes out.

I run a small media start up, we have around 50 artists(and writers), and because scale is so small I can allow them to just work as they please. Not making it a traditional corporate job.

And it has all worked well so far, but I have noticed that as it’s becoming bigger. Process is becoming procedural. Like this free flowing attitude won’t work if investments and many jobs are at stake.

Last year I was in Thailand and stumbled on shooting of “The White Lotus”, and they were working with such tight schedule and movement.

Like everything from backgrounds artists to every movement is rehearsed to beat.And they do it all day, for months.

I just fail to comprehend how such a tight procedure create genuine emotions and impact in scenes. There is literally no room improvisation or individual expression. The director is managing like 100 main actors and 1000 crew, it has multiple millions riding on it. How will have space in his head to think about colors and music.

We are also raising money to adapt one of our comic books into animated films, and I also have lot of personal ambition for grander projects.

But stuff like this scares me, because I just don’t understand in a process like this how is one supposed to make it feel authentic.

Hey everyone,

I am a film composer in Berlin and today my score for the short film "Present" released, and I'd love some general feedback of any kind!

The film is a drama about a relationship told across multiple timelines.
The score is only 13 minutes, so it shouldn't take up too much of your time. :)

Link to common streaming services: https://tidal.com/browse/album/450364403?u
Link to bandcamp: https://laiosgoldbeck.bandcamp.com/album/present

I want to improve, so any feedback is welcome!

Thank you! :)

Hello, looking for advice from indian film makers who’ve been through this before,

I have my film stuck “Under process with RO” since past 3 weeks. How do i get my feature film cleared ?

And please drop any other advices someone who’s going through this process for the first time might need.

Thank you

Hi guys, first things first, I'm not a screenwriter or a Filmmaker. However, I stumbled upon a story a couple of weeks ago and I can't stop thinking about how much I want it to be made into a film or, even better, a series. It's about Hark Ollufs' story. You probably haven't heard of him, and this is one of the reasons why I think it's such a great story. Compared to a lot of biopics, it would tell the story of the insane life of a simple man, rather than a big-shot historical figure, as we've seen so many times before. This idea has many things that so many people would appreciate. It would be historical and feature different cultures, battles and political intrigue, as well as drama. And it would all be real. If anyone is interested, the whole story can be found on his Wikipedia page because it would be too long otherwise. Sadly, the English version is much shorter than the German one, which goes into far more detail. The story of Hark Ollufs is about a young man from a small northern European island who was a sailor, but was then captured by Algerian pirates and sold into slavery. He became the personal slave of the chief of Algiers, and over time he rose through the military ranks until he became a high-ranking commander. He fought in numerous battles and won them. A lot of crazy stuff happens in between. His family couldn't afford the ransom for years, and when they finally had the money, the wrong man with the same name was released. Ollufs also converts to Islam and travels to Mecca. After many years of hard work, he finally becomes a free man and returns to his small home island a wealthy man. I even have an ending in mind. Ollufs is back on his small island in the quiet of his windy North Sea home in his personal study. He performs wudu with water from a bucket, finds south-east with a compass, pulls out a prayer mat, and then performs the Islamic prayer. You hear the famous 'Allahu Akbar'. The end.

If anyone is as intrigued by this story as I am, read on. I just needed to get it out of my head! Here's the link to his Wikipedia page for anyone who's interested:

https://en.m.wikipedia.org/wiki/Hark_Olufs

Hey guys! I recently complete worked on my most recent film and wanted to share it with everyone here. It’s a 46 minute horror film that I filmed in 6 days back in January.

I’d love it if you guys took the time to check it out and share any criticism, praise or anything else you’d feel like sharing. You can also find my other 12 minute short film and my 2 hour feature film on my channel as well!

https://youtu.be/cwKW0sR8uLQ?feature=shared

Hey everyone, I would like to introduce to you, my first feature film called Hydrangeas Blood, a psychological film inspired by a true story.

The story revolves around a 20 year old girl called Laura struggling to seek justice for her past.

With this I would like to present to you all my first Official Teaser. Thank you for all the support in advanced.

When you work on the lower budgeted film sets, what type of strange meals or lack of food made you second guess yourself? I remember working on a indie film for 7 hours and when we went to lunch, they just handed us a cup of noodles and a granola bar. Like, seriously? Me and the other crew members just had awkward glances like "This is it?" I still laugh about it years later though.

I’ve been thinking about this for a while. Whenever I watch first-time student films at festivals, a lot of them (even with good stories) somehow don’t feel like movies. They feel more like substandard videos — something is missing in the overall experience.

On the other hand, when you watch a “real” film, even if it’s indie and low budget, it still has that cinema quality — the feeling that it belongs on the big screen.

So my question is: what are the major factors that make a project cross that line into feeling like a real film?

Is it mainly the cinematography? Sound? Pacing? Direction? Performances? Or is it something less tangible, like the overall control of tone and rhythm?

Would love to hear your perspective as filmmakers.

So I have about ~5 years of professional experience on set as a script supervisor. More active work in the last 3 years mostly on lower-budget indies and some TV series.

I got called at about 5pm for a commercial set (call time 7am the next day). It was my first commercial. I was stressed about the technical aspects of it, about how huge the set was, how different it is from narrative work.

Long-story short - I sent my reports the day after the 2 days of shooting were done, rather than sending them day by day. I talked to the wrong person on set about when I would be sending these reports and didn't inform the production company who actually hired me. I disappointed the scripty who called me in, I probably pissed off the production company.

I got praise from the 1st AD about how good I was on set, but I'm not sure if their opinion can outweigh the negativity coming from me being late and not communicating it in advance.

Basically now I'm freaking out that I've ended my career. I've apologized, I've reached out to the scripty who trusted me, asking for more feedback and taking accountability. They knew it was my first commercial and were surprised when I told them how chaotic the set was (2 units, several hours of overtime) - we expected something more chill. But I'm still mortified that they'll spread the word about how unreliable I was, especially to other script supervisors in our community.... I don't want to get blacklisted.

What do you think?

Dear filmmakers,

My moody Sinatra short film premieres on Friday 29th August, 20:00 GMT. Watch at will, and review as you wish.

Good night, sleep warm

Hi! I’m 18 and I have an original story idea that I want to develop into a full script or treatment. I’m looking for a co-writer to collaborate with me.

Important: • I don’t have money to pay upfront. Any profits from this story (sales, adaptations, royalties) will be split 50-50. • I will provide a story treatment, character ideas, and main plot points. • All original ideas and ownership belong to me. The story is already documented, timestamped, and saved — it cannot be stolen. • I will share only general story and characters first, not full dialogue or secret twists. • If you are looking to steal ideas or take advantage, please do not contact me. Only serious writers who respect co-writing and ownership should reply.

If you’re interested, please reply or message me, and we can discuss collaboration safely.

used it for a rage room promotional video, this is my first shitty rig so felt like needed to be posted, might post the results later

This is not a basics question; I know how framerates work, but I was watching a BTS docu from the early 2000's and noticed something I haven't been able to figure out.

I was watching the making of Pirates of the Caribbean (first film). The b-roll and interviews were smooth like 30 fps. However, when they would cut to movie footage, it still had the choppiness of 24fps. And then it would cut back to an interview or b-roll and it was smooth again. Go watch a DVD from the early 2000's with special features and you'll see what I mean. It was as if the delivery frame rate was changing every time they cut to the movie footage. How did they do that??

If you worked on one of these projects, could you tell me how you were able to do that? I'm dying to know lol.

Ok, I've edited the post so that you can see that I am simply asking a question and not "plugging" my project.

Here's the question, nothing more, nothing less.

Is this a good place for aspiring film makers to talk about the projects they are working on?

Hi. Im a sophomore aspiring to be a filmmaker (Writing & Cinematography) that has been getting lots of questions already from teachers what college I want to go to. I hear by every educator that If I want to be a filmmaker, I will learn most at a film school. Its frustrating because my dad (who also was my age once and wanted to be a filmmaker) & all these greats never did. I've been looking into schools near me, but have been unable to really find any good schools that aren't scams.

I get told too often that if I want to be successful, I should go to college. Does the industry care? Should I care? What is the best way to be noticed or at least validated/reassured that I don't need college.

I live around an hour away from LA so its a bit easier to access ig if that helps.

This is my first edit, very beginner, just started exploring cinematic shots, and ofc, constructive criticism is welcomed.