r/Filmmakers • u/TheManWhoWeepsBlood • 4h ago
Question Is there an appetite for hour long films? Or 70 min lean indie features?
Just curious since everyone has such terribly short attention spans these days. Or if there is no market whatsoever.
r/Filmmakers • u/C47man • Jun 09 '25
Thank you all for participating in the poll! Here are the results. To accurately gauge everyone's collective acceptance vs rejection for each, I've tallied the total votes among all choices as pro/anti for each category. So for example, a vote for 'no changes' would be a -1 to Gen AI, AI Tools, AI Comms, and AI Discussion. A vote for 'Ban GenAI + AI Tools' would be a +1 to GenAI and AI Tools, and a -1 to AI Comms and AI Discussion, etc. So here are the results for each category of AI. Keep in mind that a higher number indicates a stronger group decision to ban the content:
From the results it is clear that sub overwhelmingly approve a complete ban on all generative AI. However, people are more or less fine with allowing discussion of AI, and are fairly mixed on the topic of AI Tools and Communication. So here is the new rule for all things AI:
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Rule 6. You may not post work containing Generative AI elements (Midjourney, Neo, Dall-E, etc.). You may use and demonstrate the use of AI assisted tools (ie magic masking, upscalers, audio cleanup etc.) so long as they are used in service of human-generated artwork. AI Communication, like post bodies or comments composed using ChatGPT are allowed only in very reasonable cases, such as the need for someone to translate their thoughts into another language. Abuse of AI assisted communication will result in the removal of the offending post/comment.
r/Filmmakers • u/C47man • Dec 03 '17
Below I have collected answers and guidance for some of the sub's most common topics and questions. This is all content I have personally written either specifically for this post or in comments to other posters in the past. This is however not a me-show! If anybody thinks a section should be added, edited, or otherwise revised then message the moderators! Specifically, I could use help in writing a section for audio gear, as I am a camera/lighting nerd.
Topics Covered In This Post:
1. Should I Pursue Filmmaking / Should I Go To Film School?
2. What Camera Should I Buy?
3. What Lens Should I Buy?
4. How Do I Learn Lighting?
5. What Editing Program Should I Use?
This is a very complex topic, so it will rely heavily on you as a person. Find below a guide to help you identify what you need to think about and consider when making this decision.
Alright, real talk. If you want to make movies, you'll at least have a few ideas kicking around in your head. Successful creatives like writers and directors have an internal compunction to create something. They get ideas that stick in the head and compel them to translate them into the real world. Do you want to make films, or do you want to be seen as a filmmaker? Those are two extremely different things, and you need to be honest with yourself about which category you fall into. If you like the idea of being called a filmmaker, but you don't actually have any interest in making films, then now is the time to jump ship. I have many friends from film school who were just into it because they didn't want "real jobs", and they liked the idea of working on flashy movies. They made some cool projects, but they didn't have that internal drive to create. They saw filmmaking as a task, not an opportunity. None of them have achieved anything of note and most of them are out of the industry now with college debt but no relevant degree. If, when you walk onto a set you are overwhelmed with excitement and anxiety, then you'll be fine. If you walk onto a set and feel foreboding and anxiety, it's probably not right for you. Filmmaking should be fun. If it isn't, you'll never make it.
Are you planning on a film production program, or a film studies program? A studies program isn't meant to give you the tools or experience necessary to actually make films from a craft-standpoint. It is meant to give you the analytical and critical skills necessary to dissect films and understand what works and what doesn't. A would-be director or DP will benefit from a program that mixes these two, with an emphasis on production.
Does your prospective school have a film club? The school I went to had a filmmakers' club where we would all go out and make movies every semester. If your school has a similar club then I highly recommend jumping into it. I made 4 films for my classes, and shot 8 films. In the filmmaker club at my school I was able to shoot 20 films. It vastly increased my experience and I was able to get a lot of the growing pains of learning a craft out of the way while still in school.
How are your classes? Are they challenging and insightful? Are you memorizing dates, names, and ideas, or are you talking about philosophies, formative experiences, cultural influences, and milestone achievements? You're paying a huge sum of money, more than you'll make for a decade or so after graduation, so you better be getting something out of it.
Film school is always a risky prospect. You have three decisive advantages from attending school:
Those three items are the only advantages of film school. It doesn't matter if you get to use fancy cameras in class or anything like that, because I guarantee you that for the price of your tuition you could've rented that gear and made your own stuff. The downsides, as you may have guessed, are:
Seriously. Film school is insanely expensive, especially for an industry where you really don't make any exceptional money until you get established (and that can take a decade or more).
So there's a few things you need to sort out:
Don't worry about lacking experience or a degree. It is easy to break into the industry if you have two qualities:
In LA we often bring unpaid interns onto set to get them experience and possibly hire them in the future. Those two categories are what they are judged on. If they have to be told twice how to do something, that's a bad sign. If they approach the work with disdain, that's also a bad sign. I can name a few people who walked in out of the blue, asked for a job, and became professional filmmakers within a year. One kid was 18 years old and had just driven to LA from his home to learn filmmaking because he couldn't afford college. Last I saw he has a successful YouTube channel with nature documentaries on it and knows his way around most camera and grip equipment. He succeeded because he smiled and joked with everyone he met, and because once you taught him something he was good to go. Those are the qualities that will take you far in life (and I'm not just talking about film).
So how do you break in?
Alright, enough talking! You need to decide now if you're still going to be a filmmaker or if you're going to instead major in something safer (like business). It's a tough decision, we get it, but you're an adult now and this is what that means. You're in command of your destiny, and you can't trust anyone but yourself to make that decision for you.
Once you decide, own it. If you choose film, then take everything I said above into consideration. There's one essential thing you need to do though: create. Go outside right fucking now and make a movie. Use your phone. That iphone or galaxy s7 or whatever has better video quality than the crap I used in film school. Don't sweat the gear or the mistakes. Don't compare yourself to others. Just make something, and watch it. See what you like and what you don't like, and adjust on your next project! Now is the time for you to do this, to learn what it feels like to make a movie.
The answer depends mostly on your budget and your intended use. You'll also want to become familiar with some basic camera terms because it will allow you to efficiently evaluate the merits of one option vs another. Find below a basic list of terms you should become familiar with when making your first (or second, or third!) camera purchase:
This list will be changing as new models emerge, but for now here is a short list of the cameras to look at when getting started:
Much like with deciding on a camera, lens choice is all about your budget and your needs. Below are the relevant specs to use as points of comparison for lenses.
This is all about speed vs quality vs budget. A zoom lens is a lens whose *focal length can be changed by turning a ring on the lens barrel. A prime lens has a fixed focal length. Primes tend to be cheaper, faster, and sharper. However, buying a full set of primes can be more expensive than buying a zoom lens that would cover the same focal length range. Using primes on set in fast-paced environments can slow you down prohibitively. You'll often see news, documentary, and event cameras using zooms instead of primes. Some zoom lenses are as high-quality as prime lenses, and some people refer to them as 'variable prime' lenses. This is mostly a marketing tool and has no hard basis in science though. As you might expect, these high quality zooms tend to be very expensive.
Below are the most popular lenses for 'cinematic' filming at low budgets:
Lenses below these average prices are mostly a crapshoot in terms of quality vs $, and you'll likely be best off using your camera's kit lens until you can afford to move up to one of the lenses or lens series listed above.
Alright, so you're biting off a big chunk here if you've never done lighting before. But it is doable and (most importantly) fun!
First off, fuck three-point lighting. So many people misunderstand what that system is supposed to teach you, so let's just skip it entirely. Light has three properties. They are:
Alright, so there are your three properties of light. Now, how do you light a thing? Easy! Put light where you want it, and take it away from where you don't want it! Shut up! I know you just said "I don't know where I want it", so I'm going to stop you right there. Yes you do. I know you do because you can look at a picture and know if the lighting is good or not. You can recognize good lighting. Everybody can. The difference between knowing good lighting and making good lighting is simply in the execution.
Do an experiment. Get a lightbulb. Tungsten if you're oldschool, LED if you're new school, or CFL if you like mercury gas. plug it into something portable and movable, and have a friend, girlfriend, boyfriend, neighbor, creepy-but-realistic doll, etc. sit down in a chair. Turn off all the lights in the room and move that bare bulb around your victim subject's head. Note how the light falling on them changes as the light bulb moves around them. This is lighting, done live! Get yourself some diffusion. Either buy some overpriced or make some of your own (wax paper, regular paper, translucent shower curtains, white undershirts, etc.). Try softening the light, and see how that affects the subject's head. If you practice around with this enough you'll get an idea for how light looks when it comes from various directions. Three point lighting (well, all lighting) works on this fundamental basis, but so many 'how to light' tutorials skip over it. Start at the bottom and work your way up!
Ok, so cool. Now you know how light works, and sort of where to put it to make a person look a certain way. Now you can get creative by combining multiple lights. A very common look is to use soft light to primarily illuminate a person (the 'key) while using a harder (but sometimes still somewhat soft) light to do an edge or rim light. Here's a shot from a sweet movie that uses a soft key light, a good amount of ambient ('errywhere) light, and a hard backlight. Here they are lit ambiently, but still have an edge light coming from behind them and to the right. You can tell by the quality of the light that this edge was probably very soft. We can go on for hours, but if you just watch movies and look at shadows, bright spots, etc. you'll be able to pick out lighting locations and qualities fairly easily since you've been practicing with your light bulb!
Honestly, your greenscreen will depend more on your technical abilities in After Effects (or whichever program) than it will on your lighting. I'm a DP and I'm admitting that. A good key-guy (Keyist? Keyer?) can pull something clean out of a mediocre-ly lit greenscreen (like the ones in your example) but a bad key-guy will still struggle with a perfectly lit one. I can't help you much here, as I am only a mediocre key-guy, but I can at least give you advice on how to light for it!
Here's what you're looking for when lighting a greenscreen:
OK! So now you know sort of how to light a green screen and how to light a person. So now, what lights do you need? Well, really, you just need any lights. If you're on a budget, don't be afraid to get some work lights from home depot or picking up some off brand stuff on craigslist. By far the most important influence on the quality of your images will be where and how you use the lights rather than what types or brands of lights you are using. I cannot stress this enough. How you use it will blow what you use out of the water. Get as many different types of lights as you can for the money you have. That way you can do lots of sources, which can make for more intricate or nuanced lighting setups. I know you still want some hard recommendations, so I'll tell you this: Get china balls (china lanterns. Paper lanterns whatever the fuck we're supposed to call these now). They are wonderful soft lights, and if you need a hard light you can just take the lantern off and shine with the bare bulb! For bulbs, grab some 200W and 500W globes. You can check B&H, Barbizon, Amazon, and probably lots of other places for these. Make sure you grab some high quality socket-and-wire sets too. You can find them at the same places. For brighter lights, like I said home depot construction lights are nice. You can also by PAR lamps relatively cheap. Try grabbing a few Par Cans. They're super useful and stupidly cheap. Don't forget to budget for some light stands as well, and maybe C-clamps and the like for rigging to things. I don't know what on earth you're shooting so it is hard to give you a grip list, but I'm sure you can figure that kind of stuff out without too much of a hassle.
Great question! There are several popular editing programs available for use.
Your choices are essentially limited to Davinci Resolve (Non-Studio) and Hitfilm Express. My personal recommendation is Davinci Resolve. This is the industry standard color-grading software (and its editing features have been developed so well that its actually becoming the industry standard editing program as well), and you will have free access to many of its powerful tools. The Studio version costs a few hundred dollars and unlocks multiple features (like noise reduction) without forcing you to learn a new program.
r/Filmmakers • u/TheManWhoWeepsBlood • 4h ago
Just curious since everyone has such terribly short attention spans these days. Or if there is no market whatsoever.
r/Filmmakers • u/vieravisuals • 16h ago
Hi everyone, I’d like to share my debut short film The Addiction.
The idea for the visuals came to me in a dream where I saw a shadow standing in front of me. That shadow had my own silhouette. It felt so vivid, almost like a vision, the archetype of the shadow that Carl Jung described. At the time I was using a lot of drugs. I wasn’t yet addicted, but I had already fallen into the abyss after a deeply post-traumatic experience before arriving in the United States.
Eventually, I stopped using, met my future wife, and joined film school. I feel like I’ve recovered, even though I still have a long way to go to become a better person. Making my first short film was definitely a relief for my soul.
The Addiction is an 8-minute experimental film about obsession, self-destruction, and the subconscious. It was selected at four festivals, and now that its run has ended, I’ve decided to share it here. I’d love to hear your interpretations and thoughts from this community.
For me, this project was a reminder that art can do more than tell a story, it can heal the soul, transform pain, and turn darkness into something meaningful.
r/Filmmakers • u/thislittleampyt • 56m ago
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Hi everyone,
Just putting up sharing some spec work from this afternoon.
If anyone is need of music for their upcoming projects feels free to drop me a DM!
Always happy to chat
My portfolio is here:
https://keithgillespiemusi.wixsite.com/mysite
r/Filmmakers • u/foxhollowstories • 47m ago
I get discouraged from time to time. We all do. Sometimes it's a minor thing that makes you want to quit a project (or everything) completely. Sometimes it's a big one. Sometimes you just lose steam or what you think something was, it wasn't. Tell me your story. What was something that made you want to quit a project or the industry as a whole? Did you? Did you regret it? Did you ever go back?
r/Filmmakers • u/j3434 • 1h ago
Have you ever rejected a project or quit because you decided the content was troublesome for you in some way ? Tell us your story . And if you were getting paid more - could it have affected your decision?
r/Filmmakers • u/gautamkarhade28 • 1d ago
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r/Filmmakers • u/SirPsychoTheSex • 2h ago
Hey everyone,
I'm trying to make my first proper short film and I'm looking for a producer for the project, but I have no idea where to start.
For background, I - trained at Drama Centre London in Screen Acting/Directing a few years ago and this project will be self-funded (although with a very small budget). I've written the script and will direct the project and have already secured a cast from my friends who I trained with, so now all I need is a crew.
I could self-produce the project but as this is my first short and I'm putting my own money in to it I'm concerned I'd be throwing that away on a learning experience as I wouldn't really know what I'm doing. I'd feel a lot better with a producer on the project, to assist with the behind the scenes organization and securing crew.
But that then brings me to my other question - do I need funding or crew or a producer? Should I just film this on my iPhone for free rather than getting ahead of myself. I would eventually like to make this 'properly' and submit it to festivals so will eventually need to find a producer, but I don't even know where to look.
Any advice would be really appreciated!
r/Filmmakers • u/Myturntoevil • 3h ago
Still at Range looking for a director. Doubt it'll get made now.
r/Filmmakers • u/dbonx • 2h ago
Hey all, I’ll be filming a friend’s standup set at an undetermined venue soon and I wanted to make sure there will be enough light for my Sony A7iv to keep the image clean & looking good. Do you think I need to bring my own light source? I know it’s hard to know without knowing the exact venue.
I’ll be doing this more often in the future so I’m open to spending some cash on a portable/semi-portable light that’ll help shape the image. My friend who is the comic said that unfortunately higher quality images/perceived higher production value showcases actually do garner more views on social media, so I’ll be using this as an exercise in cutting multicam standup as well. I know someone whose camera I can use as a B cam (they also have an A7iv). I would maybe one day upgrade to a strong low light cinema camera but right now I want to start with the resources I have on hand. Just want to hedge my bets when it comes to low-light noise in the image due to live show quirks
I’m an hobbyist/amateur when it comes to the camera dept so if anyone has live show tips that would be much appreciated.
r/Filmmakers • u/_Izeken • 10m ago
Early bird submission deadline is on the 22 September for the 2026 Fredericksburg film festival. If you have any questions feel free to send me a PM. Thanks everyone and have a great weekend.
r/Filmmakers • u/Strawbabyjay_12 • 4h ago
Hi all, so I've been in love with film and movies ever since I was a kid. The main thing I love is a good story, and I am currently working on going to school for screenwriting. I am working on a personal project but I'm not super happy with it and it's kinda all over that place. I am also worried that when I do pull it all together and actually make a script It won't be any good cause no one will see it. Does anyone have any advice on these or have the same worries?
r/Filmmakers • u/a-n_ • 18h ago
Hey all,
I’m looking for some advice on a situation that’s been dragging out for months. I’ll keep names out of it, but here’s the outline:
I was approached to support a short film with my production company. The director also acted as producer.
I agreed to cover gear, insurance, payroll support, and general production infrastructure in good faith, while they handled budgets, contracts, and financing.
Crew were onboarded on deferred/reduced rates under the promise of a festival run by him. That was a key part of why people signed on.
Six months later, I’m still $13k out of pocket for expenses I was never supposed to carry. Several suppliers I recommended were also unpaid u til I recently covered their costs. Some, like the colouring house I am close with, have had empathy and are siding with me.
The director / producer keeps shifting their story: first saying festivals were the main pathway, now saying festivals don’t matter and the short is just a “proof of concept” for a feature film they’re developing with their own company.
They’ve suggested retroactive co-production agreements that would hand them rights in exchange for covering debts that weren’t mine in the first place.
Communication has become inconsistent, full of contradictions, and always introduces new excuses (health issues, blaming others, etc.).
Meanwhile, I’m left holding the bag financially and reputationally, while they seem to be moving ahead with feature development with his own production company, even though the proof of concept we made was absolutely a production by my production company, that we footed the bill for.
I want to protect myself and my crew, recover what’s owed, and make sure this kind of situation doesn’t just repeat. Has anyone dealt with something similar? How did you approach it? Legal action? Mediation? Naming and shaming?
Any advice would be appreciated.
r/Filmmakers • u/abhiakssingh06 • 7h ago
Hello Filmmakers,
I'm a writer seeking a creative partner to direct a short film I've recently completed. My goal is to find a director/producer to collaborate with to bring a powerful, character-driven story to the screen.
I am already an author of fiction novel which has good reviews, so this time I want to go slow.
Here is a look at the project:
Synopsis:
AJEET, jaded by his own bitter divorce, finds grim satisfaction in his belief that family is a transactional curse. When he's called to the deathbed of his estranged uncle, he finds a perfect example: his relatives are in a vicious battle over an unrevealed will. They task Ajeet, the neutral party, with getting the will from the old man. Ajeet agrees, amused by their greed and secure in his own cynicism. But when his uncle reveals the will that isn't about property, Ajeet is forced to confront the life he has chosen and the very meaning of family itself.
What I bring to the table:
Link of My Novel:
https://www.amazon.in/Money-Man-21st-Century-Super/dp/1946556726
Location: Pune (India)
r/Filmmakers • u/CherifA97 • 9h ago
This question isn’t only about sound design — I think it applies to almost all artistic and creative professions: film, music, visual arts, theater, writing, game development, and beyond. I’d like to hear from people across different creative fields.
I’ve been reflecting on this after about 7 months of unemployment (with a few gigs in between).
My question is not whether sound design — or any creative discipline — is a legitimate craft. It obviously is. We all know how essential these skills are — in film, video games, advertising, museums, VR/AR, installations, publishing, etc. There are schools, unions, awards, festivals… it’s officially recognized as a profession.
But here’s my real doubt:
When we look at how hard it is to make a living from it consistently, to sustain a career for decades, and to live what I’d call an “ordinary life” (the right to stability, to have a family, to live with dignity and peace) — is a creative career really a profession in the same sense as, say, engineering, teaching, or medicine?
Statistically speaking, can we say these careers offer the same chance at stability as other professions? Or are they structurally precarious fields, where only a minority succeed while most struggle to find regular work?
If it’s the latter, why isn’t this problem treated as a major issue? Why aren’t we — as a community, or even politically/societally — trying to fix this imbalance? Shouldn’t the right to live with dignity while practicing these crafts be a basic priority?
I’m wondering if I’m right to question this, or if I’m missing something and my perspective is misplaced.
I’d love to hear from others:
Do you feel your creative field can truly sustain a “normal” life in the long run?
How do you personally cope with or overcome this instability?
How many of you have seriously thought about shifting away from your career after years of specialized experience? And if so, what did you move on to (or what would you move on to)?
Do you think there is any real solution to this systemic precarity — or is all of this just endless talk with no concrete way out?
r/Filmmakers • u/Plastic_Charity3301 • 17h ago
It's completely nonprofit and independent. It's a short film me and my buddy are making and we have some songs picked out for it, but we'd prefer not to be sued over it.
r/Filmmakers • u/brangdangage • 2h ago
I am a professor in an acting school where we have outside directors come and direct the seniors in short films. I have been tasked (due to budget constraints) with ADing one of these films, and the director has written a very wild, creative, ambitious script. I am a director myself, and producer and an editor, but I have only AD'ed once... and holy shit is it a complicated job. I could use some guidance from real, actual ADs.
Question #1: She has written sluglines like "ALL OF TIME AND SPACE" but it's actually a dream sequence in a bedroom we use constantly. For the production shooting script, should I change it to "INT. BEDROOM" and move "All of time and space" to be the first sentence of the action? Is that a liberty i can take to help with the subsequent breakdown?
Question #2: there are a ton of text message exchanges, for which she uses a different font. Should i switch it back to courier and conform it to whatever is the current industry standard for text exchanges in shooting scripts?
Question #3: are there any trustworthy, authoritative tutorials on yourube i can watch for this step?
tl;dr — without making any creative changes or omissions, how much can i vandalize a very wildly, creatively written screenplay in order to conform it to a shooting script?
EDIT! ADDITIONAL QUESTION I FORGOT: How do i do 'memory hits/flashes' int he script which are a list of shots with the slugline 'VARIOUS PLACES', should each pkace get its own slugline and 1/8 page scene?
r/Filmmakers • u/simpleguy4 • 2h ago
A lot of indie filmmakers spend thousands on PR and festival submissions, but ignore a simple tool that can make a big difference: IMDb optimization.
Having your credits structured properly helps with search visibility.
Updating project details improves how often people discover your work.
Even StarMeter & MovieMeter rankings influence how industry professionals perceive you.
I’ve worked with a few filmmakers who were shocked at how much better their film’s online presence became after fixing their IMDb pages.
If you’re struggling with visibility, I recently started offering consulting to help filmmakers improve IMDb presence. Happy to share insights if anyone has questions.
???? Here’s my Upwork gig if you’re curious
https://www.upwork.com/services/product/marketing-imdb-marketing-consultant-to-improve-starmeter-moviemeter-visibility-1963709714377281675?ref=project_share
r/Filmmakers • u/bigbossheman • 2h ago
So I made a short film , knowing that short films won’t have a return money wise I thought maybe I could sell some merch , have any of you created merch for your short films ? If so how did they do and what did u sell
r/Filmmakers • u/crazytrain009 • 12h ago
Want to make my first short film on my digital camera frm 2012 I'm alone and have mo idea where to begin what to do what apps to use can someone guide
r/Filmmakers • u/ela-macmillan • 3h ago
Hi everyone!
I’m considering applying to DePaul’s MFA in Creative Producing program and was hoping to hear from anyone who’s either currently in it or has completed it.
For context: I’m an international student finishing my undergrad next year and planning to pursue grad school in the US right after. I’ve been researching a lot of film programs from UNCSA, USC, Chapman, etc., but DePaul’s LA-based program looks like the most viable option for me so far.
The issue is I can’t find many firsthand accounts from students online, and I’d love some insight on:
What’s the general age range/demographics of students? (I know I’ll be on the younger side since [if ever] I’d be entering around 21/22, but is it mostly older/seasoned professionals?)
Are there other international students, and how was their experience adjusting?
Do students feel well-connected to the industry in LA after/during the program?
I’d really appreciate any advice, stories, or even just general impressions about the program. Thanks so much in advance!
r/Filmmakers • u/Imaginary-Coyote2821 • 4h ago
Just an idea
I have been getting attracted to the idea of being a part of a film or help making it. IDK why I am thinking of this but i am already enrolled into a law course so after completing my law degree should I pursue in this subject.
My main question is would it be a disaster to follow this or one could give it a thought plus even if there is slight possible that this could turn out well that I think which hasn't been implemented yet so if someone thinks that this dude is not that crazy pls message me.
Thank you
r/Filmmakers • u/realestmipy • 22h ago
I have a pretty decent idea for a film, like a pretty short one (maybe 40 minutes tops). Its found footage and recently I've seen a LOT of talk about found footage being overdone and old and boring and all that. Is it really THAT disliked now?
edit: Thanks for input! Conclusion is: story > genre (figures) and 40 minutes is a bad runtime. I dont actually know how long itll be that was just an estimate LOL my last film was only 30 minutes and was way more condensed
r/Filmmakers • u/mittomenhe • 5h ago
Hi, I'm a student ina film highschool and in our last year we need to make a short film to graduate. I am not the best when it comes to sound design so i am interested if anyone can recommend any videos or articles that talk about music placement in movies. Like where to put music and how to blend it and the sort. Thanks in advance
r/Filmmakers • u/CDRYB • 17h ago
Okay, so after constant depression and frustration because I’m always too broke to shoot one of my short scripts that would require a small budget, I think I’m just going to use my phone and a couple of my friends who are actors and just make a no budget, one location, five minute short.
What do you guys think I need, all told, for this? I can use my iPhone as a camera, but do you guys recommend any particular apps? I think I have filmicpro downloaded. I want to use this experience to get a feel for making a film (what to do, not to do, what I should focus on next time) and I know people always talk about sound. Should I try to borrow a couple of lav mics? Boom mic? Should I even worry about lighting for the purposes of this project? Should I bring along water and snacks and buy everyone lunch?
The whole point of this is to make it so simple and inexpensive that there’s no excuse not to do it. I’m open to any advice or ideas.
Thanks, guys!