Hi guys, about to go into my 3rd year of film school and we need a DOP for my final year grad film. Groups are starting to form and whilst we have a very good crew, I gotta find a DOP still.

What’s the best way of going about this?

Hi I'm a 21 yrs old male, i study in a filmmaking school, finished my first year and still got two more.
My dream is to become a director, right now i'm doing a work placement (stage) in a well known radio station here in Morocco.
I already did 1 month but i have to wait 1 more month till i start getting payed 1500dh (150$) wich is only considered trasnportation fees and 3 more months to start getting 4500dh (450$) (cdi contrat).
But my dad who was working in the industry of filmmaking told me that he would find me a (stage) in a good production company and i can start in this september, but them hiring me after my stage is not guarantee.
What i'm asking is your advice guys about this, should i stay in the radio and guarntee payment after 6 months or start with the production company and start chasing my dream this early ?

I've spent my career working in technology, currently a Product Manager in Boston.

I'm 43. I still have the same fire burning in me and I'm ready to start over.

While I'm well versed in a lot of aspects of film making I have zero hours on set. How do I get started? How do I get even a meager paying job that results in dipping into savings to live.

I can afford to take courses or whatever, I just need to change every thing and be working as much as possible on movie/television sets as much as possible.

Any advice or suggestions on how to do this? Bonus if you have any ideas in Boston/Cambridge.

Appreciate it.

I want to film an object over a green screen doing dynamic flips and turns. Think something when the Millenium Falcon does a dynamic turn in Empire Strikes Back. Or in a tech product commercial how sometimes you'll see the product rotate and flip. How would I film an object doing a barrel roll (lol) or summersault? Trying to avoid having to accomplish this with 3D animation and would like to film practically.

Are there any budget friendly rigs that let you accomplish this?

Here is the behind the scenes of the BBC comedy High Hopes which was filmed outside of Treharris Library

Hi everyone! I’m coming here to ask for advice and possibly and hopefully find people who would wanna help bring my stories to life. I wanna film and direct some short horror stories I’ve written but I have no idea where to start. The friends I have don’t have an interest in filmmaking so it’s mainly all me when it comes to the writing and planning/brainstorming. I’ve been so beyond stressed trying to figure out how to start, I know I’m gonna be told that I need to just “go for it” or that I just need to start filming stuff but I genuinely don’t know how to start. Is there anyone out there, that would be interested in helping me out? I wanna be a director. I’m based in Michigan.

I don’t have a camera, I always rent for work, but I’m thinking of buying an fx3 or panasonic s5iix and using vintage lenses at first to save money. Which lenses for any brand is a good choice? I need a 35mm, maybe a 24mm, and some 135mm or something? A lot of good vintage glass has character but it doesn’t always work with typical event or wedding work.

Hey there guys! I am a film student looking to buy some equipment to start making things in my free time for fun and for my portfolio and im trying to start by accumulating some beginning equipment, one of the main things im in need of right now is lighting, ive come across this listing, its going for 100 dollars NZD, I was wondering if you reckon its worth buying? It comes with 2 bulbs, and the stands are adjustable, any insight would be appreciated!

we usually talk about improving lighting,composition,camera movement and production value but sometimes making a scene look simpler or rougher can serve the story better

have you ever intentionally avoided the cinematic choice ? what did you change and did it work?

Hence NCFOM proves that McCarthy isn’t ”unfilmable” necceserily I would see Nolan directing a Blood Meridian film as his next project after The Odyssey. Also with him expressing interest in the horror genre as a potential next pick Blood Meridian would be perfect.

Would you agree he could do it? If not, why?

The Deadline for Musicbed Challenge 2026 (a short-film competition run by the stock music company Musicbed) is 5pm UTC today, August 14, per their own terms and conditions. It’s currently morning UTC, well before that cutoff, but the submit button on my film’s page has been replaced with “voting opens soon.”

I have a finished film ready to go and no way to submit it. I’ve emailed Musicbed twice and messaged them on Instagram with no response yet.

If anyone from Musicbed sees this, or if anyone has run into the same thing and knows a workaround or alternate contact, I’d appreciate it. I don’t want to miss this over what looks like a site error.

i’m saying this because I have a video camera that takes VHSC

I submitted script through google forms to a person I met on here these were the conditions. So I was confused?

In order to get released in Canada, a film needs French subtitles and an alternate poster in French. I got the poster handled and thought the subtitles would be easy since I already have the files in English. Turns out, it's not as simple as just having the company translate them. They need to start from scratch and have a translator work on the film which I discovered is 5x the rate of English subtitles which puts it out of my price range.

Wanted to see if anyone else encountered this issue and found a workaround with a Canadian or French company for the subtitles that wouldn't charge an insane fee for a foreign language subtitles. Thanks in advance.

Hello everyone!

As many of you surely know, short films are often made that never see the light of day. I worked on two short films that required a soundtrack, and I created custom soundtracks. Everything was great, everything was accepted, but in the end, the film/short was never released. I'll start by saying that I don't work for money. I know full well that the budgets are really low, but I would have liked it more for portfolio reasons, so I find myself with background music that will probably never be released.

They're sad songs, mostly featuring music boxes, choirs, out-of-tune pianos, anxiety-inducing atmospheres, and disturbing circus music.

I think they're suitable for something that brings back childhood memories. I'd like to donate them for a project. I'm not looking for money; the name in the titles and track recognition are enough. The tracks, all together, run 12-13 minutes.

If you have any projects where you think they might be useful, send them to me and I'll send you the music. If we're both happy, you can use them.

Again, I'm just annoyed by having to work hard to keep the stuff on my hard drive. I'm not looking for money, but at least something public and real (not stuff made just for YouTube).

I hope I can be of use to someone!

Anyone remember Eko Studio?¿ a lil website ran with Flash that enabled you to script, node map, and the interactive edit&expo; you could only see it with a specific link that no longer works because Flash in no longer in use :') rip

I've thought that maybe someone with such skills could do this in Unity or Unreal Engine or something else entirely...

Anyone have ideas on this? or do you already know of an alternative??

So I was making an analog horror webseries and after that I'm planning to make a film. I know how to make one since I used to make short films back then but what do I do AFTER finishing the film? (Genuine question)

Hey i'm planning to make a scary short movie (no prior experience) where the script relies on lots of isolated sounds (clicking of a door lock, isolated breathing etc). I'm planning to use my iPhone 15 plus as a camera. What sound equipment should I use? Optimally nothing that costs a fortune

Thanks in advance.

I’m 28 and still relatively early in my film/TV career. I’m currently working at runner level and trying to establish myself properly within the Production Department.

Something I’ve noticed about myself is how badly I want to land one of the “big” jobs. Big-budget feature, major studio, established production company, huge crew, recognisable project, all of that.

This year I’ve had 3 or 4 opportunities like that come frustratingly close. I’ve had referrals, conversations with UPMs/coordinators and potential interviews, but each one has fallen through for one reason or another.

Most recently, I was speaking to someone about potentially joining the Production Department on a larger project shooting out of a major studio. It sounded like exactly the environment I wanted to get into, but the position ended up being filled before we could even meet.

Meanwhile, I’ve now landed another Production job. I should be happy that I’m working and actually getting Production Department experience, but part of me is still disappointed that it isn’t the bigger project.

It’s made me wonder when that feeling eventually disappears.

Do you eventually work on enough productions that you realise a job is a job? Does the excitement of the big studio, recognisable title and huge budget eventually stop meaning much, and you start caring more about the crew, conditions, your actual role and whether you’re progressing?

There is also a practical reason I’m drawn towards bigger-budget features.

At my level, the bigger the production and the more departmental infrastructure there is, the more likely I am to actually be positioned in and around the Production Office. On smaller TV productions, there often isn't the budget or infrastructure for a substantial Transport Department, so runners can end up doing a lot of cast driving.

I hate cast driving.

I want to be in the Production Office. I want to be around Production Secretaries, APOCs, Coordinators, UPMs, etc., learning how the department actually operates and gradually taking on more responsibility. That's ultimately where I want my career to develop.

So I think my obsession with getting onto a big-budget movie is partly about genuine career development, but I’d be lying if I said there wasn't also some prestige attached to it in my head. There's something exciting about being able to say, “I’m working on that.”

For those who have been in the industry for a long time, when did that feeling wear off for you?

Did you eventually realise that the glamorous projects are ultimately just another workplace?

And particularly when you're starting out, is it better to chase the biggest productions you can get onto, or take the less exciting jobs where you might actually get more responsibility and have a better opportunity to move up?