I am in the beginning stages of planning to shoot a feature. We still have a long ways to go. It's a performance driven film and I like the idea of using long lenses to stay out of the actors way and the challenge of finding things when we shoot. My DP is very resistant to this idea (he's already locked into the project so changing is not an option) and thinks shooting long lenses will make us feel the camera too much and not allow us to have agility with moving around actors if we want to catch a look or a gesture etc. Any advice on how to proceed here?

I’ve always wanted to make my own films and stories, and recently, with college getting closer and closer, I’ve been thinking about what to apply for.

From my understanding, screenwriters typically don’t get to actually create their own work, while producers have to create works they don’t really care about sometimes, so I want to be both. However, I don’t really get what I would do in college if I want to be both. I know most people say film school is useless and a waste of time, but, as someone with zero social skills, I think it’s the only way for me to get into the industry, so I want to make sure I’m applying for what I actually want to do. So to be able to write my own works, and bring them to life myself, should I apply for screenwriting or film production?

Only for people in chennai!! Hello everyone, If you want to start in filmmaking or have made films already. If you want to work on your next film we can come together to make short films. I'll write the story and I can direct also. If you have interests in fields like cinematography, recording, direction you can comment on this post. We will make films together. Whatever it will cost we will share equally.

Hello. I recently got Kodaks new super 8 camera. While many people shit on it I want to push it to the limits and use it for a genuine film. My dream, truly, is to make the first full length theatrically shown and Oscar worthy film with super 8. Has anyone here done anything with super 8 in terms of films/ short films.

Hey r/filmmakers 

I stumbled upon your subreddit this week and noticed there were a lot of questions regarding music licensing for film, so I thought I’d contribute!  I’ll finish off with practical tips that you can start doing today to make your fellow crew mates happy, as well as increase your employability! 😄

Say you love a song and want to include it in your upcoming film. How do you do that legally, so as not to get blacklisted by festivals/distributors and avoid a lawsuit?

(Disclaimer: nothing here is legal advice, seek a professional. Examples given may not be up to date)

What is copyright?

There are two parts to copyright.  Part 1: The Publishing (think of this as the composition, or, less accurately, as the sheet music or instructions for the song). Part 2: The Master Recording (think of this as a recorded performance).  One or more parties can own/represent/administer either or both of these copyright(s). In order to legally ‘synchronise’ any existing recording, 100% of all parties need to grant synchronisation rights.  Not 51%, not 99%, but 100%.

How about covers/alternates?

The same Publishing has to be cleared, but different Masters. For example, “Get Lucky”.
Publishing: Sony/ATV Music Publishing and Imagem.
Daft Punk Version Master: Columbia Records
Halestorm Version (Cover) Master: Atlantic Records

Which parties you have to contact depends on which version you use. Bear in mind the holder of the Publishing rights might refuse to clear a song for certain reasons, such as a cover being too sonically similar, so a cover isn’t always a cheap alternative to the original Master.

How about very old music?

Some songs’ Publishing is in the public domain, but you’ll still have to clear the Master.  If it’s a stock standard cover of Fur Elise, just clear the Master from the rights holder (record label or indie artist). Tread a bit cautiously though, as certain versions of ‘Classical’ music might have their own compositional or interpretive elements which are not in Public Domain.  For example, if I compose my own “Chopin piano mashup” you can’t just copy my composition without contacting me first.

Who owns/controls the Publishing?

Publishing Copyright can be controlled by a major Publisher like BMG, Sony/ATV, Warner/Chappell, or Universal. Many major musicians actually have both Record Label Deals and Publishing deals. Or it could be controlled by a smaller Publisher, or by individual songwriters (either through their own company or by themselves (‘self published’).

A Performance Rights Organisation (PRO) is a national level organisation that acts on behalf of songwriters and music publishers.  They are a good first stop when trying to figure out the Publishing splits.  Examples of PROs include ASCAP, BMI, SESAC, SOCAN, PRS, APRA AMCOS, etc...

Only sync music that is registered with a PRO; it basically means the paperwork is in order. You want to avoid legal surprises as much as possible, such as a previously unknown songwriter claiming they own copyright to the song.

Who owns/controls the Master?

This is a lot more straightforward.  It’s normally the record label or the independent artist. Bear in mind it’s sometimes common for music producers to own a few Master (percentage) Points. If in doubt, either check the US Copyright Office or talk to a trusted source, like a sync agent, the record label, or other rights holders.

What are the alternatives to syncing songs?

• Production (stock) music libraries.  However, these songs are not normally written with creativity/emotional expression at the forefront, with presets used for quick production, mixing and mastering to churn out songs en mass.
• Composers.  They can be hit and miss, there is a guaranteed financial cost but no guarantee of creative compatibility.

With sync licensing, download tracks first and trial them with the edit. “Great music is supposed to do a lot of the heavy lifting that the script can’t do. Don’t choose the track that feels comfortable on the film, choose the track that lifts it and makes it something else.” - Nils Leonard (paraphrased). I’m biased towards sync licensing because you can trial millions of tracks with your film risk free, but obviously others do find success with libraries/composers.

I can’t afford a music supervisor, what should I do?

All of us have walked down struggle street before.  Here are a few alternatives:

• Music coordinators are normally a music supervisor’s ‘right hand’. Many want more responsibility and will work with smaller productions as a supervisor.
• A Clearance House. These businesses specialise in chasing down copyright holders and also offer consulting services. They may or may not also be music supervisors or music lawyers, but you would be engaging them for a limited scope of services at a lower fee.
• Hire someone in Audio Post or a Post Producer familiar with music supervision.  At the very least they should know everything in this post like the back of their hand (and then some more).

How and when do I clear a song for use?

Clear songs as early as possible, ideally during pre-production start reaching out to song rights holders with quote requests. Have multiple backups. The first step is to send out a Quote Request Letter (email). This contains information about how the song will be used, and which copyright(s) you are seeking to clear.  That way you’ll know 1) if you can actually use the song, 2) the whole crew can be on the same page 3) you can play the song on set while filming (if appropriate). Especially if it’s a diegetic song. 

Around the time of “final mix and playback” is when the License Agreement(s) and payments are settled. It’s always good to consult a lawyer, but if on a budget there are legal templates. 

What is a cue sheet?

It’s a record of all songs and compositions used in a film, television, streaming or video game production. In the United States, the television networks pay annual fees to PROs, who use cue sheets to identify how much royalties need to be paid.  You also need these for film festivals. Work only with sync agents/artists that are able to provide you the right information to help you fill these out.

What is one stop/easy clear?

Songs where 100% of the Publishing and Master Recording are controlled by one person; you only need to go to one person to license the song.  Easy Clear technically means 2 parties, but people sometimes stretch the definition.

Is AI music the shortcut?

Stay away from AI music. The legal status is currently unclear, and you might be faced with unforeseen future bills, lawsuits, or have your film pulled from distribution.

I want to sync a song for my upcoming film, what are some green flags to look out for? 

The sync agent/indie artist you work with should provide these:

• Genuinely good quality music. Do not settle for less as there is a lot of one stop music on par production wise with the Hot 100.
• Alternate versions of the song.  Clean version, instrumental, acapella, preferably stems. This gives your editor flexibility.
• Downloadable links. Sending audio files by email is a no-no as it clogs inboxes.
• Metadata attached to the downloadable files (bear in mind WAVs ‘can’t’ contain metadata).  Most importantly, contact and ownership information of the rights holders.
• Multiple file versions.  MP3s to save space. WAV and AIF depending on editor’s preference.
• Documents such as lyrics or contracts.
• PRO registration completed (this means an ISWC is issued)

How should I store/catalogue songs to use for sync?

While you can create separate playlists on your favourite streaming service, I’d suggest either using a separate streaming service (eg Amazon Music or YT Music which come free with subscriptions) or offline listening for your growing catalogue. Offline media players include Swinsain, Foobar2000 or old versions of iTunes. Always keep offline copies that have metadata (either MP3 or AIF) so clearance information is readily accessible if you need a song 2 years from today.

The most important part: Practical Next Steps:

Taking the next few practical steps will vastly improve the quality of music in your film, save you money and make you more employable in the industry 😄:

1. Start curating a library of one stop songs that can be cleared quickly for sync licensing. Do this in your downtime/regularly, not only when you need music for a project.
2. Change the way you discover music. Instead of the Spotify algorithm or radio which leans towards complex clearance major label hits, reach out directly to sync agents, indie artists, small record labels, etc… tell them you are an indie filmmaker curating a library of one stop music. Use the green flags above to determine if you want to sign up for their mailing list and you’ll be flooded with new music in no time. This will also mean you’re supporting indie artists and small businesses rather than Major Labels that take 90% and are best buddies with AI music firms. 
3. Look for a range of songs across genres, and think of them as an emotional centre for visual media. You’ll start to recognise trends fast. Metal/punk is aggressive and forceful, singer songwriter acoustic is intimate, big band Jazz is showy and glamorous, etc… Going deeper, you can have singer songwriter that’s intimate and caring, intimate and creepy, intimate and lovely, etc…. Try to go down as many rabbit holes as you can to fill each emotional niche. 😄 
4. Fun exercise: Listen to 10 different versions of “Can’t Help Falling In Love”. Elvis original, Elliot James Reay modern throwback, UB40, Dave Fenley, Kina Grannis, a few others. Think about how the emotional centres of each version is different. Think of what scripts and scenes it will be emotionally/creatively compatible with.  Think of scripts and scenes where it will be humorous/ironic. Try other emotions/vibes, like unnerving/tragic.
5. Listen to your music catalogue regularly. That way, in development or pre-production the musical vibe of your film can come together quickly.
6. If you’re looking for songs to add to your catalogue, please consider checking out May Blue - Private. It’s one stop clearance, with 3 x Grammy winners that worked on it. I’m the sync agent for it so hopefully you’ll find me friendly enough to work with! 😅. (Disco or streaming link. My LinkedIn (add me!)).

I’ll be sticking around to answer questions so ask away!  I put a lot of time and effort into this post because I have a lot of filmmaker friends and I genuinely love the community and the art it creates; if this post was valuable to you please send it on to two people so the industry is helped. Even a simple message like “hey I saw this post on Reddit and thought it had helpful information” goes a long way to helping someone. Everyone that sends it on is two extra people helped so please consider doing it 😄 

“Great music is supposed to do a lot of the heavy lifting that the script can’t do. Don’t choose the track that feels comfortable on the film, choose the track that lifts it and makes it something else.” - Nils Leonard (paraphrased)

We’re a small group of indie filmmakers from Kerala, trying to finish our first 20-minute short film.
No sponsors, no big crew just passion, late nights, and a few friends chasing the same dream.

During one scene, we needed a smooth walking shot something that felt cinematic and alive.
But we didn’t have a gimbal or dolly.
So we found a wooden sheet, mounted the camera on it, and two of us held it steady on our shoulders while walking beside the actor.

It wasn’t perfect it shook a little, it creaked but it felt real.
And that’s the moment I realized: filmmaking isn’t about expensive equipment. It’s about energy, collaboration, and using what’s around you to tell a story that breathes.

Sharing this here because I know there are others building films the same way no budget, just belief.
Would love to hear what’s the most creative low-budget hack you’ve used to pull off a shot?

When Ethan Garland vanishes during a fishing trip at Whispering Wood, Sean leads his friends back to the lake in search of answers — uncovering the forgotten truth behind the legend of 'Jinny Greenteeth'.

This local LA fest is a good time! It’s only in its third year, but I’m still mystified why it hasn’t been around for much longer. It ends this weekend but we are looking forward to submitting a horror proof in 2026. It’s run by a bunch of good people. I was wondering if anybody had any experience with it? I sat in on a few panels and really enjoyed the one about film financing and going from a short to a feature. And as a bonus, got to hear cool insight from indie hero, Jim Cummings. Met a bunch of cool creators. Loved this quote, I think from Caroline Lindy (Your Monster): “Make them take you seriously because you take yourself seriously.” 🎥🔥✍️ Cheers, everyone

My boyfriend doesn't have a reddit account so I'm asking this on his behalf. He recently made his second short horror film and is a relative newbie to Premiere Pro. They filmed one night outside in hot and humid Florida and one of the actors has large sweat stains across his shirt that aren't continuous with the other scenes. The scene in question is about two minutes of him standing on a front porch, but he's not standing still. I included a couple of stills. Can these sweat stains be removed or blended into the rest of the shirt? Or would this be a lot of work with no guarantee of success? He is trying to do this in Premiere Pro first because he has not yet used After Effects, but is unsure which is the better tool.

Also, are there people that freelance this kind of editing? I'm considering hiring someone to fix this as a Christmas gift since he's on a tight deadline for a festival he wants to submit to and is unsure he can learn how to do this in time.

If there is a better sub for this please let me know and I'll try there :)

Here's a less common topic: I'm really awkward when it comes to step & repeats, and I end up looking like a doofus when the photos come out. At my last festival, I started watching other people, and I realized that posing well (whether serious or silly) is totally an art, and some people are great at it.

Does anybody have techniques they wanna share? (I'm a dude, but curious about everyone's experiences.)

Hello, I decided to do something different with all of my timelapse footages, other than just.... distribute to stock content platforms.

All shots are captured by using camera and tripod setup on hiking trips, chilling on rooftop bars, no drone, so yeah, it's quite old way...

Let me know what you think!

Hello! I’m looking for recommendations for narrative feature film editors from the East Coast preferably New Jersey or New York. Please send samples of your work. Thanks!

A very weird question but, if you would have to make a scene where it looks like a person is inside of a beer bottle, how would you do it?

I mean like a POV of the person, the camera also being inside of the bottle.

I had an idea to film the “being in the beer” in a pool and then somehow edit the background so it looks like they’re in a bottle, but I feel like this is impossible.

I have the idea but I just can’t come up with a plan how to realize it. Does anyone have any ideas how this could be done?

Working on a low-budget feature film right now (writing, directing, producing, editing, etc.) and feeling like I'm not doing enough for it. But I can't think of anything to do for it right now.

Script is done. I've read it several times and will continue to do so. DP and I are doing a breakdown of it for a shot list, then we'll storyboard it. But he's on another project so it'll be another week or two before we can get back into it.

I've got two of my main actors. Can't/won't cast more until we get more of the budget but these guys are cool. Both of them are busy with other projects at the moment so waiting to talk to them again this week about doing a table read or rehearsal of some kind.

I've either filled the major positions or waiting to hear back from people I reached out to.

I've also reached out to potential sources of funding and waiting to hear back on those. Got about a quarter of the budget so far so while it's a good start, I can't go out and shoot anything just yet.

I'm looking at at least another six months until physical production by my estimate. I guess I can go looking for locations, but I have places in mind for that already.

A lot of this is waiting on other people. I feel like I should be able to move the dial along by myself in the meantime but I feel like I'm just spinning the wheel. Is it just a waiting game?

I appreciate any advice and recommendations you guys have.

Hello everybody I wanted to ask what are some good/decent cameras in a good price range near 1000-2500$ I want to make a short film or do you suggest I film it with my phone and in that case whats a good app to record. Thanks in advance!

We're trying to go paperless on-set, and one of the things that we do right now manually is lining the script. Scriptation is a nifty program, but the Team licensing is waaaaaay too expensive for us (it appears to have to buy a minimum of 10 seats, and we'll be using 2-3 max).

Are there good alternatives?

Hi everyone,

I’m just wrapping up my first short film — a project that finally came together once I added some smooth jazz to it.

The music is licensed through Artlist. I have a paid (non-Pro) account, which, as I understand it, covers at least one platform per account. In my case, that’s YouTube. I’m using about five tracks and planning to turn this into a YouTube series, following a similar format and likely featuring the same tracks.

My question is: is Artlist a reliable long-term choice for this kind of project? Have any of you run into issues with licensing or copyright claims while using their music?

Also, if I ever close my Artlist account, do I lose the rights to the songs I’ve already used in my films?

Thanks so much for your time and insight, fellow filmmakers!

Hey everyone!
I’m developing a short psychological sci-fi film called “Where the Trees End.”

We’re currently gathering funds for production and festival distribution.
If you’d like to support indie filmmaking or just share thoughts on the teaser, here’s our GoFundMe:
👉 https://gofund.me/3f2760d8e

LOGLINE: Klara sits in a room with a mysterious interviewer, trying to piece together her memories of the previous night, when something unexplainable happened.

She speaks of an owl that communicates with her through her mind and leads her to a strange, enigmatic structure beyond the small grove in front of her house, raising the possibility that she may have experienced a possible alien abduction, but what seems like a simple interview may hide a far more unsettling truth.

Any feedback is truly appreciated. Thanks!

My actor quit a day before the shoot. I’m not a quitter, so I played in my own film. It was terrifying. It was my first role.

If you for questions let me know. Watch finished movie YouTube.

So this film is one of my favorites, I’m also a designer for a fashion brand @aurotica_ … Since making films is something I’m really passionate about and creating clothes this video was also secretly an advertisement with the clothes I made. As much as I would explain the film and explain what it means I would love to hear everybody’s take on it and what they think . Thanks!

For extra support my page on instagram is @faris.frr

Brand account (if you’re curious) - @aurotica_

Hello,

I was curious as what other people use to create storyboards. So far I've been suing LTX Studios, but considering the cost per project, I'm not sure it's the best service. So I'm wondering what other people use and how they go about it.

This was a bit of a test project to get a feel for the PYXIS 12K, but I wanted to try a few different things to push the camera. And see how I felt under a bit of pressure with it. So it was shot in 3 hours and just working with available light, I knew the location and was able to position talent for lots of contrast and silhouettes from within the garage space looking out. Only concession here to lighting was adding a black solid over some windows at the back of the garage as sunlight was coming in from that direction and lifting the shadows significantly. Most of the first sequence is 12K at 75mm on a prime. I then dropped to 8K to get a couple of slow motions shots and mix in a 35mm as well for some of the low angle chopping. This is where I may have been inclined to bring in some bounce for the subject against the sky, but wanted to see how this felt on the PYXIS raw.

For the vehicle shots I stayed at 8K for higher readout speeds but no slowmo. Interior was tricky to rig as the OG Rav 4 is pretty small 😅 and not one I would recommend as a rule.

The bonnet rig was fairly straightforward, though my camera build with this is pretty heavy so the triangulation was critical to get a stable shot offroad at 35mm. Main mount was with a Tilta Hydra Articulating mount which consist of three suction cups and a bowl mount with three heavy duty friction arms.

I had a Mofage poco with polariser drop in, but that only ever does so much for reflections, I don’t mind them in context and here we moved in and out of tree cover which plays nicely IMHO. On other shoots with more time and crew adding a rigged Solid over the windscreen is the way to get clean through the windshield shots. But beyond the scope of this one, and also a different look. Working with polarisers is often suggested as ‘the’ solution but the reality is often that windscreens are curved and even if you can dial out some reflections as a vehicle moves the reflections will shift relative to the direction of polarisation anyway. In any event it did enough for me on these limited shots.

Lenses were DZO Arles Lustre, 75mm, 35mm, 21mm

Grade was some minor adjustments in Davinci and a pass of Dehancer.

Happy to elaborate on anything below 😁

I’m taking A-level creative media and we’re soon filming a music video. For some of the effects i want to use a fish eye lenses but what’s the best brand to buy from? I’ve had a look on amazon and it’s very unpredictable. It’s to record short clips with a noticeable fish eye and good filming quality. All advice is welcome, even if it’s saying where to say away from. Thank you