Filmmaking / Directing

It's a motion picture that has a length that's not enough to be a feature film.

Lord of the Rings :)-

Tony - I can't help you.

That's ok.

Tony, are you referring to story? Sure, some feature films lack story or drag some and could benefit from better or more effective editing. Overall, though, I disagree with your question’s notion. Some feature length films are rather short, clocking in around or under 80 minutes. And some shorts are concept pitches for feature length or are work samples of talent for bigger projects. My personal preferred short is 2 to 3 minutes, maybe up to 6 minutes in length. In general, most shorts are not that great. Although, one of the best short films I’ve seen is Penny Dreadful (2013) written and directed by Shane Atkinson. It clocks in just under 18 minutes, I believe? Also, if you haven’t already, do check out the site https://www.shortoftheweek.com. It features great work, probably the best short work from around the world. Love it. ;)

yea, that sounds about right.

Thank you!

Just saw this - tremendously useful.

Dear Spencer, I wish you happiness!

thanks, useful.

Thanks, everyone! And would totally love to watch that Karen "Kay" Ross

This is so cool!

I love it.

I loved the concept of doing something with stock footage, and I started to do a film last month.

The feature film I'm developing right now (40 mins in!) is all done with stock footage!

If you want a film made with only stock footage / b-roll you sroll,d watch "Koyaanisqatsi: Life Out of Balance (1982)" Just music. No dialogue.

This was beautifully done. Great idea.

You would be great making TV commercials that touch the heart.

So grateful for the outpouring of support in response to your post, Jeff. Thank you all for your stories and advice! Therein lies my two cents -

1) You cannot approach this industry like any other. It's not the type where you sign on with a company, work there for 30 years, climb up some "ladder", and retire comfortably. IF that happens to anyone, then it happens to the most logistical roles, and even then... not likely. Most of us are contractors, which means business owners, which means the hustle to find work is hard. "Getting the job" isn't the beginning of the work, it's the prize for running your business well. How do you run your business well?

2) It starts with remembering that you are not alone. Find a collective that can keep you accountable, find a class that keeps you honest to your deadline or growing in your craft, find a core group you like working with so you can make films as frequently as you are available to get together, find your local industry and what you can do that brings value to them (e.g. DC is well-known for documentaries and I'm good at research - that's what I can contribute). A friend of mine is a writer's assistant on a CW show here in Burbank, literally an arm's reach away from being a staff writer. And you know what she does? She is part of a Sunday group that reads scripts for notes, she signs up for classes for writing, and writing retreats, she networks as often as possible. Don't let your career live and die with you alone in front of a computer. Find a way to get involved with others in a way that suits you. I LOVE Nick Assunto - Stage32 Script Services Coordinator 's story about getting work at Community Theatres - that's how I started before I got paid for gigs! Also, thank you for sharing, Nick. It was very generous of you to reveal that painful part of your life.

In the beginning, it's about forward momentum. If you're talking production, the key to getting on set as a no-name PA is simply be the first person to respond that they like. After that, the best thing you can ask for is someone who will vouch for you, either as a reference or as someone willing to hire you again. Check-in with that person frequently and shower them with gratitude.

As you can see, yes, we can relate. If you haven't already, I would suggest taking a moment to make a goal for yourself in November with the November Write Club (https://www.stage32.com/blog/The-Stage-32-November-Write-Club-is-Back-Wh...). It doesn't have to be a writing goal. In fact, if you miss "filmmaking" and you own a camera of any sort, I would challenge you to go on a walk every day, get footage on your walk, and at the end of the month, put something together with what you've shot. Read a poem over top of it, or try some VFX to connect it. It doesn't have to be epic, award-winning, critically-acclaimed, it just has to be complete. Because then you can look yourself in the mirror and say, "I am a filmmaker, and with every project I complete, I become stronger in my craft." Looking forward to hearing what your next steps are!

John Ellis very good words of wisdom. "You miss 100% of the shots you don't take." Wayne Gretzky.

Brian Largo this advice is priceless. Sometimes the key to success is so simple that we refuse to believe that it's just "work". Just do what you need to do and stay driven. Everything you laid out are the foundational steps that we need before we can start trying to shoot for the Hollywood stars.

One spec script screenwriters, don't succeed in this industry, because there is nothing for them to succeed with. (why only a draft) You may eventually (with luck) sell your one script, but there is no job to get. No one hires a screenwriter as an employee, and even if they did, what would they base that off of? One spec script and some shorts? I think you may be thinking about screenwriting as a profession (a regular job), it's not. Most people will never ever ever sell a spec script. And if you only have 1-2 scripts,even if you sell them eventually, you have 0 chance of it financially supporting you for a lifetime. You need a regular job as well as your screenwriting aspirations. Keep writing, follow your passions and do what you love, but at least approach it logically. I'm with Karen "Kay" Ross on this one! I hate negativity, so I apologize if this came out negative, but this is what I think. If you want a positive take away, write more, really really write, write 10 spec scripts. Give them more and still find that day job. Do it because you love it.

If you have a phone that can capture video you can make film.

All the tools to finish a film are free to download your footage to the cloud, to edit, add sound effects, blur the faces of the haters, and so on.

You can create a short film of the conflicts/obstacles that you overcame to get to your goal of your choosing.

Post your film on line, make another, promote each film as you go, and create a portfolio of films.

Now maybe the best time to be a filmmaker and build your audience.

Good luck Jeff

Ray Shab That is what it says, and that is my understanding, and makes more sense. The AC at the shoot was adamant it was an aps-c sensor, so I didn't argue though I was sure it wasn't the case. Turns out he was conflating the lens as made for an aps-c camera with the sensor. However... oddly, an aps-c lens should have had the outside of the barrel visible in the viewfinder and sensor - at least it does on a DSLR full frame. And it didn't. Very strange...

Rohit I saw Honeyland a few months ago and really liked it. Doug I agree that the camera squabble is just that. Especially with all of them being SO good nowadays. I will let the DP make that decision based on the budget (which is low).

Ray, Yes you pick the camera that makes shooting your picture the best. Choosing what is best and working with that gear to achieve the best is specialized knowledge. Gained over years of experience. Without that almost any of the cameras currently available will do a very good job. Expectations for a director in the early planning stages of a project should be of the finished images in their picture not the process of getting there. As it has been a while since you made a film and you put this discussion in this lounge, I assume you will be directing among other things, but I don’t know if you intend to shoot your short as well. If you are hiring a DP, share your thoughts and ideas of the look and budget and allow them to have the major input on the gear they will utilize to put your vision on the screen. Hiring a DP for their gear means that the response to the best camera will always be the same, the camera they own is best. Obviously not true nor what you might wish to hear but what you will be told.

Perhaps in all the responses you’ve received, Doug answered your question most appropriately “Learn to shoot with what you got”. (insert applause track here).

I wholeheartedly agree that stills cameras shoot great stills. They are not made for motion in so many ways, both in the image and in the ergonomics. But if that’s what you have, prepare to light, and design shots and art direct your way around the problems.

The BlackMagic Ursa Mini 12K has a sensor that is neither Super 35 nor APS-C but nicely between them and they are not hugely different. Essentially there are no standards. Which is problematic. With information and knowledge it is just something we adapt to. Not all lenses made in specific mounts or that can be used on specific sensor sizes, are equal in their optical properties. So yes, sometimes a lens will not vignette on a given camera when you thought it might. That is one of those things we find in either testing or our knowledge and skill set. Whether a lens is appropriate for a given sensor size is determined first and foremost by the diagonal measurement of the sensor and the diameter of the image circle that comes out of the lens to the sensor. The image circle of the lens has to be greater than the diagonal of the sensor or there will be vignetting in the corners of the images. Some lenses have greater image circles that the mounts they come with and the sensor sizes they are “made for” indicate. Others don’t. Gotta test. Remember that in the case of the BlackMagic, not all of the formats available use the full sensor available area. The 12K 17:9 has an image circle of 30.56mm while the 12K 16:9 needs an image circle of 29.07mm. That millimeter and a half difference is a lot and some lenses will not work in the larger format. Anything you can do to get away from using the very edges of the image circle is a good thing. This assumes the sensor is centered behind the lens, which has not always the case.

Andrew, Wow, thanks for taking the time. Lots of valuable info. I have used an Arri sr2 16mm back in the day, and shot few shorts with a 3ccd min dv. I was the DP (mainly student type stuff). Also a fair amount of time spent on medium and large format photography and printing. So your comments are understood and appreciated.

Ray, having shot with an SR2 says you will approach this with enough thought. I hope then that you will also shoot your piece, it might be therapeutic, or wildly frustrating :-)

Hmmm... shooting on an SR2. Ahhh... 7247? how about 7252 or 7241 or 7242? If any of the latter 3 then the accuracy of lighting and exposure needed to achieve decent results will put you in very good stead to jump into this new project

I've never noticed an actor's contact lenses, ever. As an actor who wears contact lenses and has really bad eye site without them, I hope you're not saying actors who need them for sight shouldn't wear them.

No Lydia. Not in a movie set today. But if you were playing Queen Lydia vs the Barbarian Horde an extreme closeup that shows your contacts may get a couple people saying "Hey Queen Lydia wears contacts."

Haha gotcha Peter

Lydia, I wear contacts too. Lol! Perhaps that's why I notice them so easily on actors in film and tv, and in photos. Depending on the brand, prescription contacts tend to have a blue tint and are a tad bit larger than the iris, so you see the lenses and their blue edges on closeups to mediums shots.

Anyhoo, I have a family friend who does special effects for a living—little things like this are not that hard to retouch/remove digitally. Of course, it depends on a project's budget and time, if an actor's contact lenses distract in a specific closeup scene, if it even matters per the context/setting of the film, if the filmmaker cares, etc. But with high definition TVs now being so common and many new releases coming out on VOD, these weird teeny tiny details add yet another element to consider for filmmakers... or not. Could be just one of those silly things. ;)

I was working post-production when tv and movies switched from film to digital and dailies looked terrible for a while. Cinematographers and Colorists were learning digital palette on the fly.

Anyways, 4K looks great for live sports but for make-believe entertainment, the Talent has to be on point, from good skin to dandruff-free hair.

I know & have worked with about half a dozen operators and owners of what I call Neighborhood Movie Theaters in Corvallis, Eugene, Salem and Portland, OR. A couple of 'em offer Pub service. They range anywhere from 15 seats to over 50. They are not set up to telecast movies and most/all of them are in hibernation waiting for the Covid issue to pass. I've 4-walled a couple for local one night premiers for as little as $20 - the owner gets all the concessions. The local news media love to cover it.

I Produce my Independent Filmmaker's Showcase on the tv Infinity CAM network and I'm always on the lookout for worthy shorts, ideally with 10min +/- run time. Do you have any idea just how hard it is to find anything worthwhile? I wish you all the best.

Hello Amer. Good to meet you here for the first time. As I mentioned to another here moments ago, we would like to formally meet anyone prior to a working collaboration on projects. The fact that being in close proximity or traveling to meet at filmmakers parties or film festivals makes for better collaboration or working conditions for both of us. Thank you for saying Hello and introducing yourself.

NYC screenwriter. My feature film, "The Suicide Theory" won an Audience Award at Austin FF, Grand Jury Prize at Dances With Films, US distribution w/ Freestyle Releasings (and worldwide distr. w/ several other companies per country), theatrical release, 3 years on Netflix and now on Amazon Prime. My 2nd feature film, "Rage", which I was hired for through Stage 32, just picked up worldwide distribution through Gravitas Ventures (coming Feb 2021). And my feature films, "Her Lost Winter" and "They Never Left" move into production 2021.

Hello Michael. Good to meet you here. And Congratulations! On your career's success.

Hi Tom. Screenwriter/researcher from PA. Would love to connect on something!

Hello Jordan. Good to meet you here. When all this covid situation is over we'll get back to business. We make a habit of getting to know people before working together or collaboration on projects. Usually at filmmakers parties, AFM, film festivals, etc.

Doesn't the Capital have some of these for the Presidental's outdoor speeches ? ha ha Ok, maybe check renting from CBS, NBC, ABC / affiliates ( in your area). I remember seeing small ones with USB / Cameras at a Retail store (E. Beermains - now closed ... like a lot of retail issues (yikes), but look around like Lowes, Home Depot, or .... Air Force bases / buddies who may have an inside scoop on the Drone scene. Good luck, May the Force be with you .... Always.

www.KerryKennard.com

Hire an FAA certified drone operator/cinematographer with a 4K camera onboard and do all your paperwork regarding permits, notifications, insurance - very important especially flying over crowds. Cut no corners. But no need to buy a drone. Nashville must have some film organizations with lists of qualified operators. Did I mention insurance and permits? So very important.

Yeah, I second the peeps here urging caution. Just look at the trouble Egg Boy got into down here in Australia. #longliveEggBoy

Its easier to drop props from a balloon where ballooning is a legal every day activity on location and film the actor recipients reaction from cameras the ground. I did this on a beach in Andalucia where the balloon “already” had all insurances and permits etc. We did two takes no problem.

I only ever need drones for above scenic car rides in must have visuals in a scene. Its too complicated to hire a drone for a drop. Or maybe you doing car chase after cash is dropped ground?

There's some amazing films and tv shows that are produced in Korea. I know New Line Cinema / WB picked up my favorite Korean action film to do the U.S. remake. You're going to have to see who owns it and nab the remake rights before someone else swoops in and picks them up.

Thank you!

Thank you for recognizing Vinyl Child, a special thanks from myself and the crew as well. Best of luck to all the other Semifinalists.

SO PROUD of our short film On The Sidewalk for making it to the Semi-Finals!! Couldn't be more grateful for the support we had from our cast and crew! Thank you for the recognition, Stage 32 :)

First off, hello fellow filmmakers, and congratulations to you all on getting this far!

It has been a pleasure reading through this thread and seeing all your amazing posters.

Secondly, a big thank you from all the 'Gym Patriot' cast & crew to the judges, stage32.com and of course Amanda Toney and Richard "RB" Botto for pulling us through to the semis. We look forward to seeing what's in store next. Exciting times!

If anyone is interested, here is our trailer:

https://www.stage32.com/media/2509571869804342457?ref=search

We, the creators of Pendulum, are thrilled and honored to be among you all as a semi-finalist in the S32 Short Film contest. Thank you Stage32 for the opportunity! Good luck everyone! Fingers crossed for today's finalists.

So excited to hear the finalists!! Good luck everyone!

-Producer "Misfit M."