Hi /tv, any (wannabe)filmmakers here?
I'm currently in my final year of film school and i feel i haven't learnt much in my shitty 3 years there.
I was wondering if anyone on these boards could help me by pointing me in a good direction to learn and immerse myself even more? are there any good forums out there for cinematography/vfx etc?
I thought of asking here at /tv because I've discovered great stuff on 4chan before. such as great music and good films.
>Go to work in big studio
>Do stupid movies like transformers/TDKR or any toy/comic shit
>Make money & learn at the same time
>Make a movie about niggers or strong women in '20s
Hi, thanks for the tips man!
Currently I'm working at A+E networks which owns stuff like history channel. But what i feel is the stuff they do is too commercial and lacking in any artistic integrity.
What I'm looking for is a great website or forum to browse and learn about new technology/ discuss good films/ cinematography techniques for low budgeters etc.
Film college should mainly be about networking so that by the time you leave you already know where/who you're going to work with. If you haven't already done that then you're fucked anon.
Also an aspiring filmmaker, will be going to the NFTS in London as soon as I finish school. Anyone here been? What's it like?
I recently wrote, directed, and edited my first project. I don't really have any formal training, or preperation, but here's a rough cut.
I haven't officially "released" it yet, it's just something I want to use as a means to do more directing projects.
Anyone know any sites to find people needing help on set, even if it's just PA/Runner shit? I just want some set experience before I go off to filmschool/start directing my own projects.
i have this camera
you want to follow people like philip bloom. and hit up a good forum like dvinfo.net.
There are lots of groups on vimeo too that will be a better help than most.
In all honesty I find DSLRs harder to make great static shots on right now at my skill level, it's not a style I want to experiment with. I've been a fan of greengrass and Dan Bradley, and I wanted to capture that reality and give some shape to it. Yeah the blue tint is defiantly much, have actually already subdued it in some edits.
When I got the skillset and knowledge, I'll stop using it as much, but like I said, baby steps.
cinematography theory & practice -- blain brown
the five c's of cinematography
the camera assistant's manual -- david elkins
practical cinematography -- paul wheeler
painting with light
motion picture and video lighting -- blain brown
set lighting technician's handbook -- harry c box
Thanks, but like I said I had a whopping 45 minutes to talk with the DOP and actors on the days leading up to the shoot. But yeah the footage is much more stable, but I loved the trembling to be honest with you, but I'll keep it for key moments instead.
the art and technique of digital color correction -- steve hullfish
freddie young, james wong howe, vittorio storaro, nestor almendros all wrote and/or are the subject of really great books
practical art of motion picture sound -- yewdall
technique of film editing -- karl reisz
everything by or about walter murch
cut to the chase -- o'steen
when the shooting stops -- rosenblum
technique of editing -- ken dancyger
Was looking at craigslist but it's fucking 100% porn. Seriously look at this shit.
production design/art direction:
filmmaker's guide to production design -- lobrutto
the art direction handbook for film -- michael rizzo
directing & production:
rebel without a crew
spike lee's gotta have it
the disaster artist
making movies -- sidney lumet
the total filmmaker -- jerry lewis
film directing fundamentals -- proferes
lloyd kaufman's your own damn movie series
the jaws log
feature filmmaking at used car prices (kinda dumb and very outdated but it helped me a lot)
producer's business handbook -- lee & gillen
directing & producing cont'd:
kurosawa's something like an autobiography
getting away with it -- soderbergh
so you want to be a producer -- turman
kazan on directing
stanislavski directs -- gorchakov
ready when you are -- ziesmer
theory, criticism, history:
film technique and film acting -- pudovkin
on filmmaking -- mackendrick
the language of film -- rod whitaker (trevanian!)
everything by david bordwell & kristin thompson
sculpting in time
notes on cinematography -- bresson
cocteau on film
the innocence of the eye
the dramatic imagination -- robert edmund jones
the visual story -- bruce block
adventures in the screen trade & which lie did i tell
monster -- john gregory dunne
art of dramatic writing -- lajos egiri
three uses of the knife & note to directors of the unit -- david mamet (a little bullshitty like all of mamet's theory stuff but much better and less proscriptive & opinionated than his directing or acting books)
on writing -- stephen king
never trust screenwriting gurus. syd field, blake snyder, etc. fuck those guys. there's no formula you can put in. there's a format but you can do whatever you want within it as long as it works for THAT specific screenplay
i think that's it. it took me years to come across all this information and i figured i should try to give something back by compiling it. it's more than bane shitposters deserve but i hope it helps you
I'm looking to be a screenwriter for comedy mostly, doing skits and the like, can I get some feedback from you guys? These are just improvised skits I did in my spare time. I'm doing a proper short film for my final project so all feedback is welcome!
>I'm looking to be a screenwriter
>I'll be your screenwriter
Also I'm an amateur director looking for some good low-budget short film scripts so if you've got anything like that I'm interested.
Sounds cool mate. I'd like something simple but engaging like a thriller or something. Again keep in mind the almost non-existent budget. Have you actually written any scripts before? Can I see any of them?
>YOUR MOTHER FUCKING MIND, USE IT WELL AND YOU CAN DO ANYTHING
Is it nice to have a solid camera? Yes, yes it is. But if you don't understand how to move someone through space, how to cut from one shot to another, emphasize words coming from someone's mouths, when to go in for the close-up, when to have your characters kiss Well then, what good is the world's best camera to capture your shit knowledge of cinema. Not only cinema, but art in whole, all the arts, study all the arts, experience the world, be open to the world, and suddenly you can find yourself and do whatever the fuck you want with even just an iphone.
>Yeah, no. You'll need at LEAST a T3i if you want to produce anything vaguely cinematic looking
You are fucking wrong. Create an aesthetic that is specific to the iphone. I would imagine something with lots of motion, lots of cutting and movement like Eryk Rocha or still shots with lots of movement from your models.
Obviously the quality will not be as good as a Red, Alexa, whatever the fuck. But if you re-think how to film with your instrument, you could do something that is still interesting.
Besides, quality is bull shit, it's part of the crisis of film right now, people are more concerned with having the best camera to measure against their dicks instead of creating an aesthetic that is true to themselves and true to the world. An iphone is good enough for doing THAT and that's all I'm saying.
while I'm sure it's possible to create an "interesting" looking aesthetic w/ an iphone, that certainly doesn't mean it's going to look professional - and, like it or not, most people aren't going to pay much attention to cheap looking work
you're right, finding your own voice/style is much more important than buying some expensive camera - but the step up from something like an iphone to a mid-tier DSLR is fucking enormous and makes it 1000x easier to do so
I agree and disagree. I think the reason most people won't watch is because people who film with an iphone think it is limited. Therefore what they create is limited. They do not think outside the box, most people aren't crazy enough or brave enough to. I can't find the full film for free but here is a preview for something Park Chan Wook did:
Does it look great? No, but it certainly does not look bad. And if it is good then you won't even think about that sort of gloss that Hollywood cinema depends on.
That's all it is, is gloss.
Look at Cezanne or Giotto. They are both painters but their textures, their colors, their space, the expression of themselves within the frameworks of brushes. It is not the same, and thank god it is not the same. They were able to realize their paints in the way they did, and we do not look at them, a hundred years later or hundreds of years later thinking "the paint is chipped, decaying, it is ugly." Because the impression and the intention of what we see is beautiful. Filmmakers need to realize they are no different.
Listen to How to Dress Well LOVE REMAINS. This album was done in lonely room all by himself, listen to Burial UNTRUE, parts of the album were recorded over a grainy telephone line and the texture of pat of what is incredible about the sound. It does not have to be crisp, and clear, with obvious colors, obvious clarity. IThe image can be distorted, the sound can be distorted, and it can still be something to marvel at.
*I didn't really express what I meant to by bringing in Cezanne and Giotto, apologies I am rushed. All I mean to say is narrative filmmakers need to embrace all of what the image offers, INCLUDING texture e.g. quality of the image, and they need to not be afraid to do something new. It's why I do not watch short films of my peers anymore, or vimeo, fuck vimeo especially. It is frightened people trying to live for money not art.
*...the texture is PART of what is incredible about the sound
Here is a clip from my short film I wrote, directed, produced, and even have a little role in.
Before you watch:
1) This is just a clip -- there is about fifteen minutes cut out which I don't want to share yet.
2) The grading isn't done in this clip
3) The sound isn't done in this clip (this includes a certain IMPACT effect)
Premise: Group of friends suspect their friend is turning into 'one of them' -- they debate over what they should do before time runs out.
I don't give a fuck mate. I'm serious about this shit because it's my fucking life. And I like to see good films, I would especially like to see good films from independent American filmmakers, because I don't see anything that is especially brave or especially meaningful. And I'm sure you would to so I don't think you mean your bull shit comments.
Right now I'm working on seven projects minus the tens of tens of whatever the fuck I've written that I go in and out of, and I'll let what I'm doing speak for itself. Thankfully I'm young so I have time to develop my voice, and my mind is forever young so I'll have even more time.
Since May I've been working on an anti-war film about US intervention in Iraq. It follows a Sensor Operator remembering his time watching over Iraq, Afghanistan, etc. in the context of new reports that imply the potential for U.S. intervention. Sure enough we're fucking back and I'm probably the only motherfucker insane to be doing something like this without thousands of dollars. Does it look like shit? Maybe, but no one is doing this type of thing, I know that, I've created my own aesthetic with respect to montage, and that's what I believe will make it interesting.
And I'm sure there are other filmmakers possibly reading this and I would like to think this is a way to connect to them, that even on a minuscule level some words like these will get to them, and that's why I share my fedora shit with all, because I want people in my art to go a little crazy because what we are doing is as old and maggoty as the meat that caused the battleship Potemkin to revolt.
I don't think we should be different for the sake of being different, I think we should be different because we have more to say than we are saying with our cameras and words.
all you need to say is what you want to say. it can be as generic or as original as you want, as long as it's your voice, drawn from the things you care about and want to put on screen.
regardless, my point still stands.
i continue to tip my fedora in your general direction, mate.
>tfw studios refuse to allow you to make your movie
>constantly forced to submit and rip apart my vision in order to have it at all
>have to sell my voice in absurd commercials in order to pay the bills
>get fat and drunk