Hi everyone, I'm 25, a military veteran, and I'm determined to see my name in the end credits of a film one day.

I'm hardworking, ambitious, and coachable, and I'm ready to put in the effort. Right now I'm trying to break into the industry, but I don't have a portfolio yet, and I don't know anyone in film to create with. I've been learning from podcasts and interviews, but I know that can only take me so far.

I'm looking for:

• A mentor willing to guide me  
• A creative person or team who'd let me join and learn on set or on projects  
• Any advice on where to start

If you're open to taking on a mentee, or you know of groups, programs, or communities I should check out, please comment or message me. You're also welcome to share an email or other contact info.

I'm serious about this and respect your time as much as I hope you'll respect mine. Thank you, and God bless you all.

📍Atlanta, GA

Hi Filmmaker Friendz,

I posted on here in the past, but my name is Jeff Ryan. I'm a filmmaker based in New York City. I've made four feature films, and I love making movies, but it can be years of your life that you're not on set practicing what you do. I personally miss going into the woods with a camera and making something... So, that is what this post is about!

This is the first video of me trying to challenge myself for an afternoon to write, direct, and act in a short film. I hope you all like it. It's by no means perfect, but I'm thinking about doing this as a series and trying to post the process a little bit. If you like it, let me know, and I appreciate your time.

I'm an aspiring actor and a complete beginner looking for ways to enter the film industry.

I'm interested in Hindi and Marathi films, short films, web series, and independent productions. I don't have professional acting experience or industry connections yet, but I'm serious about learning and improving.

I'm currently looking for remote opportunities, including self-tape auditions, online casting calls, and independent projects where I can audition from home.

I'd love to connect with independent filmmakers, directors, writers, and student filmmakers who are working on projects that might suit a beginner.

If you have any advice on getting started, finding legitimate auditions, or building experience without industry connections, I'd really appreciate it.

Thank you for reading, and I hope to connect with some creative people here!

Eat for Health - Horror Short Film

Made using public domain information films from the 1940s/1950s

I’m in the position of having to decide which professional name to use as a filmmaker, specifically as a writer/director.
My options are:
Evan Broussard-Everett (full name)
Evan Broussard
Evan Everett
What’d you guys think sounds the most fitting for a filmmaker.

As of now all of the books that I own on filmmaking are:

Film Directing Shot by Shot (Steven D. Katz)
The Filmmaker's Eye: Rules of Cinematic Composition (Gustavo Mercado)
The Visual Story (Bruce Block)
Story (Robert Mckee)
The Complete Guide to Photorealism (Erin Dinur)
Setting Up Your Shots: Great Camera Moves Every Filmmaker Should Know
The Fucked Up Art of Filmmaking in a Third World country without failing (Juan Manuel Mendez)

but I would love more recommendations because I know that especially with directing a lot of hats have to be worn. It doesn't matter if the books are about something general or they focus on some aspect in particular like lighting or editing. I am still a beginner at all of these even if I am starting to learn theory from these reads.

I'm an Italian writer-director based in California, and I recently released my latest psychological horror short, THE WAKING CALL.

The idea was to create something unsettling without relying on traditional jump scares or constantly showing the audience what to be afraid of.

Instead, I focused on atmosphere, performance, sound, and the tension of a late-night radio show slowly turning into something much darker.

One of the biggest challenges was figuring out how much to reveal, how long to let certain moments breathe, and when to break the tension.

I'm curious how other filmmakers would have approached it.

Would you have pushed the horror further? Cut certain moments? Revealed more? Or even less?

Here's the film :
https://youtu.be/pPr3PhQVaI0

Interested to hear what you'd have done differently, particularly with the pacing and suspense.

I’ve always been fascinated by the production side of film—how locations are found, how a crew transforms a space, and all the behind-the-scenes details. I’ve used Peerspace and had one commercial filmed at my home, and I loved getting a little peek into that process. I was told “we were looking for a home with a variety of looks, especially the exterior- and your home has it!”. Needless to say I geeked out at seeing a little of the process.
I live in a 1923 Tudor in Montgomery’s Garden District, with a slate roof, massive chimneys, etc. I’ve always thought it would be fun to see the house in a film someday.
For those who scout locations or work in production: what makes a home catch your eye, and how do you usually discover places in smaller markets like Montgomery? I’d love to hear how it works.

I thought I'd share a first look at a feature we made (still in post). It's about some 1800s mathematicians, featuring Georg Cantor. It was my first SAG pic and our budget was $60,000 (total, from dev to distro) - I had the idea almost 10 years ago, and we shot it this year in 10 days, in Texas.
https://youtu.be/LEZtKKkpoVw

🎬 Cinematographer Here | Mumbai Based

If you're looking for a Cinematographer without a camera package, I'm available!

With 7+ years of on-set experience, I may not bring my own camera, but I'll definitely bring my skills, experience, creativity, dedication, and 100% effort to your project.

I believe good cinematography isn't about expensive gear. It's about understanding the story, working with available resources, and making every frame meaningful.

But one thing matters — your vision, or your director's vision, should be practical, realistic, and achievable within the available budget and resources.

I'm always ready to experiment, collaborate, and push creative boundaries, but creativity works best when ambition meets practicality!

I bring the skills. You bring the vision. Let's create something worth watching! 🎥

Feel free to DM for projects or collaborations!

Hey y'all, I'm a new filmmaker, I just got into my city's local film communities and just started directing stuff this year, but I want to turn it into a career. One thing I can see helping with that is if I increase my online presence, so I want to build a portfolio website.

But, I kinda want my website to look different. Anybody my age (late 20s) remembers how old websites used to look back in the early days of internet accessibility. I think it would be really funny and on-brand if I make my portfolio look like a 10-year-old kid made it 25 years ago. It'll make me stand out, y'know.

But I have no idea how to get into this really. I don't want my website to look super cookie-cutter like it was obviously made in wix or something, so that would require some knowledge of coding beyond my days as a wiki editor lol. And so this is an open inquiry to the world. If you know how to code websites and you're a funny & cool guy who would get my humor, then DM me let's talk

hey people!

looking to work on more narrative driven projects as an editor - brand films, commercials, music videos, short films, skits and anything in between.

i have experience working across different formats and would love to collaborate on projects with good stories and interesting ideas.

here’s my portfolio: tusharsamanta.com

if you’re working on something cool, let’s connect :)

In 1 year, I went from making $0 passion projects to getting paid to make videos I love. In this YouTube video I talk about how I did it. No silver bullets, no quick tricks- just 3 proven strategies that paid off. Check it out: https://www.youtube.com/watch?v=wxcABXzAw2o

I want to make a short film (my first) and I have to decide wether to use the camera on my samsung a25 or an old(er) Nikon D5100 with a 55-200 mm lens or a 18-55 mm lens (I have both lying around). This camera was bought by my parents in 2011. I am mostly gonna make close up shots of my hands (writing, typing) and my computer screens. I dont have any great options for lighting other than my home lights and some desk lamps.

Advice is very apprectiated, I'm very very new to this.

I directed this. It's a clip from my 13 minute documentary, "Dreams Are For Suckers." Three independent artists talking about failure, money, and making the work anyway.

The artists' own voices drive the film, over interview audio and B-roll.

Here, Ricky Salinas is talking about creative burnout. He says it "kills your soul, like you feel it die." From behind the camera, I ask, "You mean literally?"

The bulb dies as he touches the cord. He laughs in the dark.

I build the full edit around moments like this, trying to put the audience in a trance.

Cut in Kdenlive on Linux Mint. Mostly, I wanted to see where open-source editing stands on stability and workflow. Honestly, I was surprised. Kdenlive held up on Linux, and I was able to do basic color correction on the old YouTube footage.

That part took care. The original files from 2018 were lost in my move to Texas and back, so I worked from what survived on YouTube, shot on an even older camera with the Nikon D7200.

Happy to talk about the workflow if anyone wants.

I checked with the mods before posting this.

I've been entering screenplay contests this year and wanted one place to see what's open and what's about to close, so I built a calendar for it. It's at https://festivals.page4films.com and it's free, no account or sign-up.

Right now it has 2,710 listings in 118 countries. That's 2,437 film festivals, 65 screenplay contests and 208 funds, labs and grants. You can filter by type, entry fee, region, or Oscar and BAFTA qualifying, and you can save the ones you care about and add their deadlines to Google or Apple Calendar. There's also a weekly email of everything closing in the next two weeks if you'd rather not check.

Every date comes from the festival's own website. A lot of festivals only post their deadlines on the submission platforms, so about half the listings say "See festival site" instead of showing a date. I'd rather leave it blank than guess. If a festival hasn't announced next year yet, it shows last year's dates and says so.

If you run a festival you can list it for free, and every listing has a button to report a wrong date. I'm still adding more, so tell me if yours is missing.

If anyone has a five minute short they want graded, I’d love to practice grading this weekend. I just need the files online and I’ll do some grading work for free. Hit me up!

I'm an aspiring filmmaker and I have nostalgia for different decades, particularly the 80s and 90s. A lot of the stories I want to tell are set during those time periods, and one of my biggest goals is to eventually make a feature film set in the 1980s.

I was born in 1993, so I obviously didn't get to experience the 80s myself. One thing I've noticed, though, is that whenever I talk about wanting to make movies set in decades before I was born, I sometimes get mocked or questioned by people who are older than me and actually lived through those times.

I've heard things along the lines of, "How can you make a movie about the 80s when you weren't even alive back then?" or people suggesting that I wouldn't be able to accurately capture what life was like during that period.

I understand where the skepticism comes from. There's obviously a difference between experiencing a decade firsthand and learning about it through research, movies, music, books, and photos. The last thing I want is to make a period film that feels like a superficial imitation of the era or relies entirely on nostalgia and stereotypes.

At the same time, I don't believe filmmakers should be limited to only telling stories set in times they've lived through. If that was the case, we wouldn't have half of the great movies that have been released throughout the years.

I'm intrigued by these decades, and I want to approach them with the respect, research, and attention to detail they deserve.

So I wanted to ask you guys, especially those who have worked on period pieces:

- What advice would you give a younger filmmaker who wants to tell stories set before they were born?

- How do you accurately capture the atmosphere, culture, and everyday life of a particular decade without having experienced it yourself?

- How do you avoid making a period film feel like a collection of nostalgic clichés?

- Have any of you dealt with similar skepticism, and how did you handle it?

I'd really appreciate any advice or personal experiences. Thanks!

Hi! Originally earlier this year (reuploaded since) I made a tutorial on how to modify the way dissolves work in DaVinci Resolve so they interact with the colour timeline, and are also linear so they look more like a photographic effect. But I made this under the assumption that it's common practice to apply the conversion into Rec. 709 and such on the timeline level, and then apply and titles and such on top of that. Since then I realised that timeline level operations are usually stayed away from, instead being done per clip or per group, so I made a follow-up video on how you can still achieve the same effect using adjustment clips, and do no grading work at all on the timeline level

Here's the first video for those interested: https://www.youtube.com/watch?v=9zDrN4Z9NxI

How do you stay motivated in film? This is probably one of the hardest industries to get into to. This is also an expensive hobby.
I keep getting told that money doesn’t matter but at the end of the day it does. You gotta pay talent, crew, get food, gear, etc.
Then you spend all this money on this film and then you release it and see nothing. Not a lot of views or a dime.
How do you tell yourself, “alright let’s make the next one.” I just feel exhausted and burnt out and I don’t want to feel like that. I love filmmaking.

I used to think the camera body was the main expense when shooting high-speed stuff, but once you factor everything else in, the gear is only half the battle.

Lighting ends up costing way more than expected because high frame rates demand massive amounts of light, and a lot of standard lights will flicker right on camera. Storage is another headache since high-speed clips fill up drives instantly, meaning you need serious backup solutions and proxies. Plus, set resets take forever—a splash or a shattering object takes two seconds to film and twenty minutes to clean up.

Out of everything, what usually eats up the budget the most on a high-speed shoot for you: the camera package, lighting, storage, time on set, or post production?

Hey everyone,

Long time lurker here...my recent short film got accepted i to the Hex After Dark Film Festival. The festival is screening 20 films in their "scream room" part of Calgary's Screamfest. They also have a theatre they booked:

"As well as showcasing your work at Screamfest, new this year we also have been able to afford to get an actual theatre showing on Oct 27 at the Grand Theatre on 1 street SW in Calgary. It is a classic theatre and we are stoked for such a cool location. We won't be able to show all the films selected as we only have two showings of 90 minutes each. That being said - we are very excited to share your film"

They told us to watch their Facebook for updates but they haven't posted in over a year, their Instagram is similar, and their website still has last years programming on it.

Their FilmFreeway reviews are decent but part of me is wondering if I should even bother making the 10 hour drive to attend. They're in their 7th year but it feels so barren.

Thoughts? Has anybody attended in the past?

TL:DR - My short film got into the Hex After Dark Film Festival in Calgary but their social media and website hasn't been updated in over a year. Is it worth it to attend?

Gear insurance. Finance needs a receipt. Idk what to do lol. I’m very unprofessional.

I did a project where I didn’t know how much insurance would be and now in order to get another invoice approved I need to prove that I paid for insurance.