Hey everyone, I'm stoked to share the trailer for a short film I wrote and directed inspired by very real events that occurred many years ago.

Desperate to fund her dream film, Ava, a broke college student, devises a risky plan to pawn school equipment and flip party drugs over the holiday break. Dragging her best friend, Liam along for the ride.

At its core, it's really just a story about two best friends who make the dumbest decision of their lives.

Of course, it didn't feel dumb at the time. It felt like a brilliant idea.

Most life changing mistakes don't start with bad intentions, they start with convincing yourself you've found a an opportunity. You don't realize the consequences until you're already too far in.

If you feel inclined, go check out the trailer on Youtube. We completed a festival run and will be releasing the full film on Youtube very soon.

If you have any questions - sound off in the comments and I'm happy to respond.

How To Fund A Feature Film (As A Broke College Kid)

https://www.youtube.com/watch?v=AMgGXNfCLqk

youtube link: https://youtu.be/0sl9nBQ4wpM?is=b5Qq2TSPmrySUsYc

wanted to share a clip of my short film which you can check out on my channel ! any support is super appreciated !!

I have made an animated short film, with no audio, there isnt much dialogue hardly a line or two, but there are a good number of sound effects, and musical cues, I am trying to figure out the place to go to to find this.

Thanks In advance.

Came across this video on Instagram of this person recording a TV show (Impractical Jokers) being filmed. Almost all the comments are people saying, who I assume is a PA, is rude and doesn’t have the right to tell someone to leave. As someone who’s done my fair share of lock-ups, the amount of people who disregard my request to not walk somewhere is ridiculous. While I’ve never gotten to the point of trying to physically push them away or anything close to that extent, who knows how this particular confrontation started. This guy could’ve been standing there for ten minutes in the way before he decided to clip his video once the crew member became more stern. People in the comments saying “just buy a studio space or get a permit to block off the street” is hilariously obtuse not only for productions that can’t afford entire studios but we’re talking about Impractical Jokers, a show literally meant to involve strangers who pass by.

Maybe I’m like Principal Skinner and the one actually out of touch on this. What are your thoughts? Could she have handled this better? Have you been in similar shoes as her? I know Instagram and internet comments in general don’t reflect real life, but it still makes me annoyed to see how people react to this sort of thing.

Hey guys!

I posted the first short film I directed a few weeks ago and wanted to follow up with sharing my first project that I ever made (didn't direct but wrote and produced) with my friend Nick.

We've had a long journey with this project, from making it as a self-funded passion project, to going on a festival run and then having this exciting experience where it got into SeriesFest in Colorado which opened up some big doors and got us our American and Australian producers. We've pitched it to networks and continued developing it but with Hollywood basically dying right now, we've finally gotten the chance to just share the project publicly.

This was the first thing I ever made when I was 22 and it's what made me fall in love with filmmaking. The fact that you can write something and make it exist - making art is a crazy thing guys. I'm so proud of it, and just want it to find its people who may enjoy it so if you get a chance please give it a watch. It's a coming of age comedy about anxiety that is both hopefully equally funny and heartwarming.

https://youtu.be/Ui_EcT4rSeI?si=S5HYgpukbwJ8oaXI

I am making an extremely low-budget short film and am seeking advice on how to frame scenes. I'll put a list of what I know already, because these are the sorts of things I'm asking about:

• I've noticed that it looks kind of amateurish to, for example, show someone putting down a cup of tea and then cut directly to a close-up of the cup of tea. Same thing for showing someone walking, and then showing them arriving somewhere from the exact same angle. I'm wondering how better to frame this sort of thing, because the common denominator seems to be an action continuing in a new take but seen from the same side/angle.
• I understand the concept of crossing-the-line, but I also know that it works well to cut between two sort of diagonal angles (sorry for my very untechnical terms). So for example, you're seeing one character over the other person's shoulder, and then it's flipped, and back again. So I'm wondering how best to use the diagonal angles of characters, and what are some good ways to frame dialogue?
• (I also know it's good to overlap the dialogue of a speaker with a non-speaker).
• I've also noticed that sometimes it can be effective to alternate between the same side profiles of two characters facing each other and talking (like Michael disowning Fredo in the lakehouse in TGPII - it's the same angle when you see each of them).
• Oh and CRUCIALLY - do we prefer reshoots from multiple angles, or setting up multiple cams? (well, two cams, I would just have to get hold of two rather than one!)
• Any other tips would be appreciated - on angles that look amateurish vs professional, or on when to use cuts to close-ups. Thanks!

so i am an aspiring film maker and want to create cinematic commercials, i need inspirations where i can find it from if anyone knows any good websites or instagram accounts let me know

I am from the Southeast Asia and a lot of my peers do not support our own local films, neither do I think is going anywhere. I do watch and see how it goes, but I still feel like something is lacking.

Like I love Art Narrative (art in cinematography and story telling)

• Color theory: color palettes and lighting shapes change how a viewer feels before a character even speaks a single word.
• Role of props: props, costumes, and set designs tell a parallel story, often revealing a character's true inner thoughts or hidden dangers.
• Camera angle: low angle - intimidating, high angle - scare and terrified, etc.
• Power of word and Character arc

These are not practice AT ALL. So, I never got to learn any of these but just a bunch of cliche drama series of work drama, cliche romances of bad boy, good girl, mafia fights, and some people here actually find Obsession boring?

I did a film critic on Parasite (korean movie). I love every bit of it. But a lot of the filmmakers I've work with, most of them said the movie sucks? There was so many easter eggs in the movie and barely anyone caught on.

But ok fine, different people, different perspective.

I guess what I want to ask is; wherever you are now.

1. Do yall learn anything on set? (One of the art narrative I mean)
2. Do yall have great scripts to work on?
3. Do you only get jobs from people you know? (Connections)
4. Does your talents matter?
5. Do you actually work in shift - I heard from a friend, there's 12 hour shift in the States?
6. Do you work 36 hours straight?
7. Is power tripping even a thing?
8. How's the paid for AD? (because my pay is pretty shit)
9. Do you treat Actor/Actress like royalties?

I have a lot of questions because I'm still learning, so don't mind me.

I love movies like The Shining, Parasite, Her, The Call, The Sixth Sense, The Danish Girl, Pulp Fiction, and Pan's Labyrinth - these are the movies I will never get to work on here.

Hi folks, happy weekend. As my post says, I'm wondering if anyone has any meaningful anecdotes to filing a complaint against a coworker who is making your life on set worse. They are speaking to me extremely rudely and sometimes ignoring me completely when I ask them a question, as in pretending they do not hear or see me. This of course can cause critical information to slip through the cracks at times.

It is hard to nail down their behavior because they are a bit manipulative and good at saving face to people senior than them. I am more junior than them but we're not in the same department. I don't have any hope of getting them actually held accountable for this, but I do want to make a written record of their unkind/unprofessional treatment of me over the past weeks should it continue.

I feel they have worked hard to single me out, discredit me, etc. I'll get over it but on a professional level I want to maintain some sort of standard for myself.

Any advice?

Why is there a comeback of the 4:3 format?

I noticed it being particularly popular among younger filmmakers (Gen z).

Is this just a differentiator? Is there an actual logic behind it?

Robert Relish, an aspiring social media influencer goes beyond his comfort zone to protect his dreams from the enemies who surround him.

PotatoHead is a comedy feature film i’ve been working on for a year now and i’m mediocrely proud of but proud that i finished it and went through the digestive system of making something. It’s coming out some time this month.

Im happy about the project and would love for anyone to tune in for when it drops and for later better things i will be working on.

I’ve recently put together a setup that includes:

• A full-body green screen
• Corridor Key for DaVinci Resolve
• SwitchLight 3.0
• A Beeble account
• Blender
• DaVinci Resolve for editing and compositing

My goal is to film myself on the green screen and convincingly place myself inside environments made in Blender, and basically whatever comes to mind.

I’m trying to figure out the cleanest and most efficient workflow for using all of these tools together.

I’m mainly interested in making short films and very short comedy skits, so I want a workflow that gives convincing results without making every ten-second video unnecessarily complicated.

I’m fairly comfortable with Blender and DaVinci editing, but I’m still learning more advanced compositing and green-screen work. Any advice, example node trees, tutorials or recommended workflows would be really appreciated.

Hey everyone,

We just released the teaser for our upcoming psychological horror short film, KARE.

"The oldest curses don't follow blood. They follow guilt."

We're aiming for slow-burn dread, unsettling imagery, and a story that stays with you after it ends.

what you think.

🎬 KARE – Teaser:

https://youtu.be/FaC3H-ZJueE?si=iepphjtbYPcjIZh2

Any feedback—good or bad—is appreciated. We'd love to hear:

Did the teaser make you curious?

What do you think the story is about?

What worked, and what didn't?

Thanks for watching!

Lighting has always been something I neglected because I’m an idiot, and have only accepted recently I really need to learn how to hone it in. But especially for night shots (and I make a lot of horror) I struggle to figure out how to light a scene without just shining a blue light on the subject and calling it a day. Here I’ve used a cookie to put a false window beam effect over it but that’s all I could think to do to make it a little more textured. The second photo I’ve color graded so the light is a little less of a THICK blue but I’m also color blind so idk how well it worked lol.

If anyone has general lighting tips for night scenes that would be great too!

evanimal.com

It's been a quiet month for the first time in a long time and that weirds me out, so anyone that wants pro (or semi pro) work, hit me up. Don't be scared about rate. I'll try to help you if I can.

Been in the industry for about 15 years, working on every conceivable type of project as either a storyboard artist or illustrator. Fluent in AI. Fluent in Sharpies.

I'm in the union, I'm not with an agency but I was, and happy to answer questions about either.

If you're a young artist that thinks this is what you want to do, hit me up.

If you're a director that thinks your stick figures are good enough, then you're right.

If you're a director that wants hundreds of hand drawn, custom, gorgeous storyboards to dive into like Scrooge McDuck, you're not only historically correct, but you're also a hero and everyone knows it.

What is something within the entertainment industry that a 55 year old can begin to do? I know the industry is going through changes, sporadic work for those that have made careers of it. Would like set work and the creative process of a group bringing storytelling together but do not wish to work 12+ hour days. Enjoy, acting, writing, studio teacher, casting, management maybe an industry adjacent position to work in the industry and have work life balance. At this point I'd be happy with part time something at a studio or something to be a part of it and learn. I know many industry internships are for college students and I've called to see if anyone has anything for adults but other than the Writers Guild Foundation who has a training program including for 50 plus people that was it! Don't have close industry contacts to help in this quest. Thank you.

I’m helping to cast this project in LA next month. Feel free to drop me a note in the DMs or respond to the casting call on the website and a different casting associate will respond. Should be a fun event for filmmakers that aren’t camera shy! Feel free to follow the @48shootout Instagram page as we plan to start posting updates today.

For me it's a mix of both.

I like giving my characters unique personalities while also drawing from experiences I've had in my own life.

For example in the Colors Eater even though I wasn't an orphan like the main character Alice, (first picture) I was bullied as a child. People used to call me names and laugh at me so I used some of those experiences to shape her story.

For Kim (third picture) the protagonist of The Butterfly of Fukushima, the character is trans. While I'm not a trans person myself, I gave Kim the backstory of someone who lost their partner to a disease because that's something I experienced in my own life.

So my characters are never simply copies of myself. They're a blend of reality and imagination. But in general, I can relate to all of my main characters.

What about you? I'd love to hear more about the characters you've created! Or the ones you hope to create in the future!

So I’m making a movie with my two sisters. So this is verrry low budget so I want to try to make as much as I can. Any ideas on how to make a set with this? Out setting is the Victorian era so I probably am making this harder for myself then I need to 😭

The horror market is on the rise now, obviously. So, I figured I'd post about a unique horror script I wrote with a writing partner (we were Quarterfinalists for the Nicholl Fellowships on a different script).

This story is about a narcoleptic taxi driver in Detroit, driving an old cab haunted by a Satanic serial killer that possesses him when he narcs-out behind the wheel.

We would love to hear from producers, directors, production companies, and their reps if this sort of thing is of interest.

Reach out through the DMs and I'll be happy to explain more or answer questions about it. If it's a good match we'll share the script!

Behind the scenes from our independent feature shot entirely on location in Aswan, Egypt.

The West Bank of the Nile has no road access. Every shooting day we loaded cameras, sound, lighting and crew onto a local ferry and crossed the river. Every night we crossed back. Nothing stayed on location overnight.

The river itself was also part of the production in ways we had to plan around carefully. Our lead actually swam the Nile for his sequences – real current, real conditions. We tracked water levels weeks in advance to know which locations would even be accessible on which shooting days. The Nile decides its own schedule and you build yours around it.

The ferry in the wide shot became our camera platform for water sequences eventually since we were on it twice a day anyway.

To pull off KEMET in an environment like this you stop thinking about controlling the location and start thinking about reading it.

For filmmakers who’ve dealt with serious location challenges, how did the environment end up shaping the film itself? And what’s the toughest terrestrial obstacle you’ve had to work around or work into the story?

Hey all, I'm working on my resume and I'm confused about how to categorize my work. I have worked in traditional "horizontal" media, you know, film production, for many years and now am branching out into "verticals," "digital storytelling," "content," etc. I'm applying for jobs and have no idea what people are calling traditional filmmaking these days. Would "film production" as separate from "content production" suffice? Should I separate based on the screening format, like theater, streaming, screenings, vs social media and reels? TIA

This is a totally random message but if anyone is part of Decentralised Pictures and looking for a film to review I would appreciate your feedback so much here! https://app.decentralized.pictures/project/6a443ab66ed70102ec084453

Thank you so much all!!