Should I inform the director and/or ask them if I am okay to work on the project? I feel like I should at least hit them up before accepting the project from the artist. What would you do?

Hey guys, I don’t know if this is more a question for editors, but I figure a lot of people are using royalty free music platforms like Artlist for their businesses.

My question is, does anyone else notice how insanely laggy the service is? For instance, I have to constantly reload the page just listen to music samples, and same goes for sound effects and stock footage. I love the service but for the amount of times it lags it’s driving me insane and makes me want to find another service, but for the price point I should just suck it up…

So I'm a writer and I'm almost done rewriting and editing my script. I want to jump on the chance to produce this film but I want to go indie route or pitch to small production companies rather than go for the big market. The thing is, I'm not a professional writer nor did I go to film school, and I don't have any connections around me in the film industry. So how do you get yourself a lean crew? Are there any boards you can post ads to recruit volunteers? How can you get a producer or main camera worker who's experienced?

I'm planning a short that is a parody of existing IP. I spoke to a lawyer that said I should get E&O insurance + an opinion letter from his firm (together very pricey), and I was just wondering if it was 100% necessary, or if I should film the thing, then see if what I shot warrants that purchase. Any suggestions?

I know it varies case by case, just speaking in general practice here though

Good day everyone!

I was hoping to ask those with far more experience and education than myself if I appear to be on the right path regarding the short film I am working towards getting produced and directing (for the first time).

Quick about me: I've been in the Vancouver industry since 2019 as an AD (3rd onset for bigger shows, and 1st AD for the Star Wars Bucketheads series / indie projects). I did the full run of Shogun among others, so I like to think I have some basic concepts on how a successful team can operate, but that by no means suggests I know everything. Thus, I am posting this.

The short film is a prologue story set in Ancient Greece and is for a larger series with the goal of entering contests and pitching it up the ladder without ruining the vibe or look of a pilot episode - I've been told studios hate when people film their own pilots. I hope to shoot this a year from now in August 2025, giving myself ample time to bring a team of interested people together, source a budget, and have plenty of pre-production time. I believe it is never too early to start pre-production and get things figured out to ensure the set days go smoothly,

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Where the project stands today

• 17-page pitch deck completed.
• 20-page screenplay completed.
• In talks with a production company.
• Several individual financers are interested.
• An authentic Greek composer attached to the project.
• Preliminary budget and script breakdowns completed.
• Chilling Adventures of Sabrina actor Peter Bundic is attached to the project.
• Shogun and Stargate actor Luis Ferreira has the script and may join the project.
• Assassins Creed: Odyssey actor Michael Antonakos (Alexios) is attached to the project.
• Bucketheads creators Andy Brown and Marco Bossow are attached as directors of photography.
• Professors from Canada, The United States of America, and Greece have and will continue to provide consultation for accuracy. 
• I have VFX, SPFX, Location Scout, AD-team, Props, HMU, and Costumes dialed in and are eager to join. I have a meeting with the newly joined production designer this Wednesday.

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All along the way, I've made sure everyone is aware we do not have financing yet - pending the discussion with the film company tonight and an Indiegogo campaign on standby to raise additional funds. I have tried to whittle down VFX significantly, taking the original script breakdown I was quoted at $300,000 down to $8,000 hah...good lord. I prefer practical effects and sets to green screens and stages. I also believe in getting in and out of a scene quickly (my AD brain - time, time, and more time). I think that as a Director, I should step onto the set in the morning knowing exactly what shots we're doing because we did everything in pre-production, and very little should be changed on the day. As an AD I thank departments an obnoxious amount for their help and support because I believe compliments are free and positive reinforcement is a good motivating tool.

Project Next Steps:

• Finish casting
• Get a set designer
• Finish the look book
• Pick exact locations and get permits
• Figure out exact budget costs from HODs
• Get a production company / start fundraising campaign
• Continue tweaking my script with actors/consultants because a script is never done improving.

Again, I've never directed anything except childhood home movies forcing my sisters to dance on bridges for hours on end with our cat. Yes, this is ambitious, but I believe it is achievable with the right crew, talent, and backing. I've helped out with small budgets and indies, so I like to think I have a chance. Anywho, any feedback on progress and projection for my 2025 goal would be wonderful. If you have any tips or suggestions on how to prepare better and be a solid first-time director, I would appreciate that as well!

Thank you, and have a wonderful day, everyone.

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Hello, I run a small nonprofit that offers fiscal sponsorship to film and television projects that agree to keep workdays under 12 hours on average, turnaround times greater than 11 hours, and provide time for all crew to eat a meal (as opposed to budgeting in meal break penalties). We're open to take on a few more fiscal sponsees, so if you're in prepro/development, feel free to reach out-- https://new-hollywood.org/

For those who don't know-- fiscal sponsorship allows you to offer a tax deduction to any person or company that contributes money or equipment to the project.

Filmmakers! Anyone know How Saint Maud Levitation was done? iI've been watching the youtube tutorials and they are all garbage. curious if anyone knows exactly believe it was on a stage with movable ceiling and harness but could be mistaken. Thanks!

Hey ya’ll. I need to create a DCP for my short film for a screening in Cincinnati and I’m currently looking to see what my options are. I’ve never messed with this before. Do I go with a site that would just take care of it for me, or potentially look for a local production house to take care of it?

Any thoughts or opinions around this would be appreciated! Thanks!

I own a small production company and want to focus more on scaling my business and hand off the creative aspects to someone else. I typically handle all directing and work with clients on treatments and storyboarding then crew out the individual roles. But I want to step away and entrust someone even more talented than me and knows their shit to maintain the level of quality and even improve it. Someone that has a good creative eye, put together treatments, storyboards, and keep clients happy and impressed.

Last commercial shoot I did, I was juggling too many things and I just felt like my creative direction was mehhh and wasn't crazy about what we produced. I felt it was very mid. Should I hire directors to handle this for me? Or would it be a crew(aside from the production crew on set)?

I would like to do some tuch ups on this light from 1986. Does everyone know what Ral color blue this is? Thanks!

Hello! Last year I decided to leave the engineering industry to pursue a career in film and entertainment. I live in Colorado at the moment and have spent the last 10 months working as a PA, Editing Assistant and Client Coordinator but I'm looking to make the move to NYC on Sept 1st. Does anyone have advice to getting into production companies in NYC specifically?

I've found its difficult to find jobs on the internet and networking really is the key to getting your foot in the door, but I'm eager to start nurturing some connections before I move in to have so prospects before I arrive. The transition from engineering to this industry is difficult, especially because I don't really have friends or family on a similar path. Any advice or tips to get in the door in a big city are greatly appreciated!

quick context: im an international student in rome, italy looking to start somewhere in the industry by any means necessary. i’ve been looking at facebook groups lately but they’re either inactive or for italian speakers. but there must be international film crews filming in rome right? it’s kind of like an hot spot for location. my question is, how the heck do i find those film sets and start working? i’ve never worked in my life before so i might be a little clueless :)

Pretty much what the subject line says. You made a film, it did okay in fests (nothing of Sundance of sorts), got some kinda distribution and ma be recovered some of the money too.. but what next? All those who are in this situation, please weigh in. Lessons learned, what did you do next, how do you plan on getting better results and so on. Thnx!

Hey Im a film student who loves editing and wants to gain more experience! If anyone has a short film they want edited or has the footage of one you made and would let me make a re-edit I would greatly appreciate it.

I've searched around online and seen similar posts on here asking for PA advice but many seem geared towards larger productions on a set, was wondering if anyone had specifics for PA work on a smaller-scale live production like this.

Hi, I'm new to any editing and I'm having a hard time searching for what I'm looking for. I'm trying to do a surprise video for my brother, where I start to play a video that I told him we'd watch, but then it abruptly cuts to something else (the surprise video). In my head I'm thinking the transition between the first video and the surprise video would be something like a roll of film running out or the film burning up. I can't really remember where I've seen something like this (countless movies in sure), but does anyone have a link to a free video I could drop in to create this transition? Thanks!

Hello, I’m glad to have found this place where I can find filmmakers all around the world.

I imagine there may be some people in here looking for someone to help them with the audio for their projects. I graduated from Sound Engineering a while ago and I did work on a handful of short films, even though my main source of income wasn’t related, now I have decided to switch fully to work on Audio and I want to see if some people in here may need a person to do Mixing, Foley, FX, for their projects charging friendly rates.

I’m looking forward to hearing from you and if you need I can share with you a few things I’ve worked on which can help you know what I can do for you.

Thank you for taking your time to read my post!

I’m just about to enter the festival circuit with my short film and was wondering if anyone has useful networking advice for when I’m there My goals are to meet producers (because I frequently have to produce my own films), directing agents, and anyone linked to film studios/distribution companies My bigger goal is to get my next project picked up/funded In the past I feel I’ve wasted my time at film festivals, and want to make more of it this time

I am trying to obtain the rights to use 4 tracks by The Swingle Singers in my short film. I have emailed Universal (who I believe now have the rights) but it could take some time for them to get back to me and I have a potential composer waiting to step in if we can't get them.

Is this a total waste of time? I don't have a huge budget so if it's going to cost £500+, I may have to give up on the dream. Has anyone dealt with Universal licensing?

A little background. I've finished my second feature script having shot and premiered my debut feature last year here in Ireland. I recently attended a networking / marketplace event in which an endless amount of production companies advised me that I need to find a producer to come on board for the second feature.

I agree but want to find producers local to my country who have worked on feature films shot here in the past few years. I like IMDB but even pinpointing which country a film was shot in is proving difficult. Is IMDB Pro any better or can you suggest a better method for what I'm attempting?

Hi there!!! I am living in Miami currently!

I am writing this post to ask all you follow legends how you began or what you think is the best advise for me to find a film group, or just people in general in my area and I guess maybe any area that are passionate about film and have goals to make shorts and help one another achieve that same goal. I feel so deprived of community and also feel like I can’t begin to film anything bc I’m a one man band with no team or colleagues. I’m destined for greatness this obstacle won’t stop me. Any advice helps 🙏

What would it take production/etc. wise to shoot every scene of a series or even a film in one continuous shot, and a script with a lot of dialogue/direcrions and people in medium to larger spaces during scenes?

Is it too time intensive to have the actors be so choreographed for every scene? Every take could be minutes and a misstep means back to 1. To keep production costs down, preparation for shooting would be more than table read, there’s memorizing and rehearsing their marks, run throughs of the camera rig’s movement to avoid accidents, so that the camera effects comes off Are there camera techniques that make it easy to move, angle, and pan all around the scene smoothly?

Like a car assembly like arm from above that can be controlled manually(with "self driving"-like feature to prevent actors getting injured while the single camera moves all around the scene).

Or programmed beforehand to move to its “mark” in 3D to capture the specific shot in the scene, all while keeping that single shot that can go back to another area of the same scene. This means limiting actors moving about the scene during the shot in case of collision again. Could be solved by programing adaptability so that smaller sensors like a camera ofc can quickly gather data about the objects seen and move around any obstacle with decent speed.

The overall effect is analogous to a specter moving about a scene in one shot capturing things happening, then moving to another part of the space to capture another ongoing scene in the same room. And this is how every scene would be shot for stylistic reasons.

What are the hardware/technologies and techniques that might be combined to best mimic this effect I hope I explained well enough.

Examples would be great! I don’t have the technical jargon down packed, bear with me.

Hey all, I just shot my thesis project and upon reviewing the dailies I’ve realized that I’m missing coverage on the delivery of two lines in my first scene. Is there anyway I could cut around this/lean into this or am I f*cked and need to plan for reshoots? Basically my actor ends the scene delivering the line on the exit and we didn’t get the pickup of him saying it in the next shot and he walks in from behind camera delivering the next line. We got ample coverage of the actress and her reactions to said lines. Any creative post-production tips are duly welcome 🙏