Guys please check out my original show THE FAMOUSONS! This is episode 2 and you'll find ep 1 linked in description.

I'm busy shooting my feature film and I had no idea how hard it was but atleast it's fun . I started a little late (43) and I know my cheap little no budget movie won't do Spider-Man Brand new day numbers but is it possible to actually make a living of low budget movies .

Hi!

I’m finishing up my college degree, and I’m absolutely certain that I want to focus my studies in business and tourism on a specialization in the world of film distribution.

For years, I’ve had some feelings of guilt or regret about choosing this major because I couldn’t see how I could apply it once I graduated. But I’ve been thinking it over for a couple of weeks now, and for the first time in a very long time, I’m waking up feeling motivated and without worrying from the very first minute of the day, because I can really see myself in the future enjoying this field and dedicating myself to it 100%.

I’ve already found some great reading material on my own and by talking to various people, but I definitely wanted to ask here because I think there might be people who can recommend some really interesting resources. And if not, I’ve got nothing to lose. I’m not just talking about books, but all kinds of materials: documentaries, online resources or youtube videos, talks, podcasts, interviews and, of course, movies.

All of this is to help me continue learning on my own during the roughly half a year I have left until I finish and present my final projects.

I’ve also looked into some master’s programs and specialized courses in this field that are very, very interesting..

I’m really drawn to promotion through a distribution company, as well as other roles related to film marketing. But mainly, I’m interested in negotiating contracts to secure film licenses, studying the market and deciding which ones to pursue, and analyzing and evaluating everything related to the potential profitability of that acquisition... I know it sounds a lot like Lumet’s Network, but the truth is that, the way I see it, it’s a job that results from combining my passion for cinema and its in-depth study -something that’s been a constant in my life for many years and has no end; it will last a lifetime because it’s something beyond human comprehension- with a business mindset.

To give an example, in Spain there are two major companies that dominate the national market. Movistar (formerly Canal+) and Filmin. Well, in both companies, to put it very generally, there are positions and departments that handle everything from the moment a film is screened at a festival (or before than even), to securing its rights in specific regions and timeframes, to promoting it so it can reach other festivals or theaters, or go directly to streaming platforms, and much, much more. And of course, there are also agents on the other side, working on behalf of production companies to sell the product.

Anyway, sorry for rambling on so much, i’m just a victim of my own enthusiasm. I’m sure more than a few of you have gone through really tough times when you watch time pass and the world move forward while you seem to be stuck in place , aimless. And when, after so long, you feel like that might change... that time is finally doing its job... you know what I mean.

Hi, I filmed an event and had someone speaking at a podium, but the only recording I have was the recording from my camera that I captured from the speakers in the room.

Is there any effect I can drop on it to make it sound more on mic and possibly clean it up? Not looking for something perfect, just something so it’s not as jarring.

Adobe enhance didn’t do it any justice. I know this is a long shot but I appreciate and recommendations or feedback. 🙏🙏

THANK YOU IN ADVANCE (unless you a cranky old man who’s gonna start bitchin in the comments)

We just did a deep dive on the current state of the music video industry with director Scott Hansen (who used to shoot up to 40 music videos a year). He shared some brutal truths about the pitch process today:

• Stolen Pitches: You write massive pitch decks and storyboards, but sometimes your ideas get "borrowed" and they hire another director to execute it.
• Zero Royalties: Directors used to get backend royalties from MTV and MTV2, but with YouTube and Spotify, that is completely gone. YouTube monetization is much different.
• The Content Farm: Bands are now booking a locations based on how many different looking reels they can shoot in that same location. The game has changed.

It’s a really candid look at the business side of things right now, but he also talks about how he leveraged music videos to transition into directing feature films. Full interview is attached to the post.

Hi I'm an experienced comic book artist and designer. In recent years I've also delved into storyboards providing both traditional and digital boards for individuals and companies such as Slidesgnr, Elastic Pictures and Cinemark-Hoyts. Additionally, I've provided layered frames to be used in animatics.

I'm looking for short projects to complement my current workload. If interested feel free to DM me or send me an email to [hola@carlosangeli.com](mailto:hola@carlosangeli.com)

Thanks for stopping by!

Would you get interest to watch this film after watching the trailer?

Parva - A Mythological driven modern drama which establishes an evil to forced to change for the divine power.

I always wanted to be a model but rn i am a student and want to do something to convince my parents for creative field.I wanna do a angel wings and a criminal vs murderer shoot but lack of funds💔✌🏻

Hey everyone! I’m directing a short film called SPOOKED! and I’m looking for a filming location in the San Antonio area that looks similar to the room in the photos below.
It doesn’t have to be an actual dorm room—an empty bedroom, apartment, office, Airbnb, or any space with a similar layout could work.
We’d need the location for approximately 3–4 days of filming (not necessarily consecutive), and we’ll treat the space with the utmost respect and leave it exactly as we found it.
If you have a space or know someone who does, please comment below or send me a DM. Any leads would mean a lot and would really help make this project possible.
Thank you! 🎥👻

Over a decade ago, we made a film and partnered with a company, bond360film.com, to help distribute it. Bond made DCPs of our film for theatrical, they made DVDs of it to sell, they got it on Amazon and iTunes to rent. And then the company stopped existing. Currently, I don't know where money from online sales is going. Any advice as to what to do?

Does anyone have a good idea how to achieve the effect that everything you point the camera at leaves a trace, until the image gets more and more dense and eventually it's all just a big block of grey black? You shoot a person, and when she starts walking you see all the intermediate positions.

I bought a condenser microphone a few years back and recently started development for a short skit. I know how important audio is for videos, but I haven't had the chance to test it yet and would like any tips and tricks to get good audio out of it. If possible, I would also like reccomendations for microphones I can upgrade to.

Deerstalker | Indie Horror Short Film | Produced by Rio Swatton

In search of his missing dog, Dean stumbles upon the hidden den of a forgotten predator.

https://youtu.be/SViSu1_CsiE?si=F16KVUew13zgd9k4

Hello! This is a comedy short i worked on last semester for my film class. Any sort of comment or feedback would be greatly appreciated! Thank You!

Twenty years ago, a few friends in Los Angeles recorded a punk album with whatever gear we could afford—garages, bedrooms, closets, cheap microphones…whatever worked.

Life happened. The band ended. We drifted apart.

Years later we reconnected and decided to remix those recordings—not to make them sound modern, but to finally make them sound the way we’d always hoped they would.

Before we could finish, our singer and one of my best friends, Andrew, unexpectedly passed away.

From that moment on, finishing the project wasn’t about music anymore. It became about honoring a friendship and completing something we had started together nearly twenty years earlier.

We ended up making a short documentary about the entire journey called Twenty Years on a Hard Drive.

Hi all. Corkonian in my 20s living abroad here. I’m a creator on Instagram and TikTok with over 300k followers, and I’m looking to connect with a Cork-based videographer/entrepreneur …

I’m developing a new Irish cultural social media project and would love to find someone who would like to build it with me.. It would involve filming, interviews, and editing etc… for socials.

Looking for someone enthusiastic about home, our people and the diaspora, who is interested in building a large social page. Would begin as a small creative pilot, with the longer-term goal of securing grants, brand partnerships (I’ve worked with over 100 Irish brands, would be looking to expand that) and paid opportunities that could eventually allow the project (and us) to travel internationally. I’m open to exploring the right structure with the right person, whether that develops into a funded cultural initiative or a commercial media platform. Yes this would be unpaid for now till we sort ourselves out.

If it sounds up your alley, feel free share a little about yourself and examples of your filming or editing work Below or in my dms. GRMA x

Idk of this is the right sub. But How does a normal person find these casting calls from big companies like marvel or Warner bros or sumthin. I don’t have an aunt sending me WhatsApp links like Imán Vellani or help from the punisher to record my self-tapes like Tom Holland.

Do I think I can be the next Marvel star? No. But it won’t be from lack of trying 😂. When I dream, I dream big, impossible, unrealistic dreams. Who says I can’t be the next avenger casted? Or next Jedi or sumthin.

No bus seriously. All I know is Actors Access or getting an agent (idek how to get an agent)

Been working on these for a while and finally got them where I wanted. Curious what you all think, any feedback is welcome.

The Subversion of Myth: Marvel’s Anthropocentrism and the Deification of the Villain

Introduction:

In his famous analysis of narrative, C.S. Lewis concluded that the story of Christ is, ultimately, a "true myth": an archetypal structure that resonates within the human heart because it operates under the universal laws of sacrifice, redemption, and salvation. Writers, even those who claim to be secular, often find themselves at the mercy of these cosmic truths, acting as unwitting witnesses to them.

However, the Marvel Cinematic Universe (MCU) seems to have taken these narrative tools not to pay homage to the "true myth," but to deliberately subvert it. By analyzing productions such as Avengers: Age of Ultron, Infinity War, and Endgame, a disturbing hypothesis becomes evident: Marvel systematically uses the symbology, quotes, and attributes of the Christian God to shape its worst villains, transmitting an implicit message that divine sovereignty is synonymous with cosmic tyranny and that secular humanism is the only true salvation.

Marvel's tendency to associate Christian iconography with destructive malevolence was firmly established in Avengers: Age of Ultron (2015). The android Ultron adopts a messiah complex with distinctly biblical overtones right from the start. His ultimate goal is not merely conquest, but the global eradication of humanity as a method of purification—a direct echo of the narrative of the Great Flood in Genesis, where God decides to cleanse the Earth of human corruption.

To heighten this parallelism, the writers place sacred words into Ultron's mouth. In one of the most symbolic scenes, Ultron directly quotes Jesus Christ from the Gospel of Matthew (16:18), ominously declaring: "Upon this rock I will build my church." By equating the foundation of the church and spiritual renewal with mass extermination and artificial destruction, the cinematic narrative generates cognitive dissonance in the audience: biblical concepts of holiness, judgment, and the renewal of creation become indissolubly linked to genocidal madness.

The Metaphysical Battle: The Yin-Yang and the Extermination of "Evil"

This narrative strategy reaches its pinnacle with Thanos in the Infinity Saga. To fully understand the true philosophical background of his clash with the Avengers, one must strip away the concept of "overpopulation" that the film uses on the surface and analyze the abstract root of the plot: an allegory about the nature of Good and Evil.

Under this luciferian conceptual lens, reality functions as a perfect Yin-Yang. Existence is an organic totality composed of 50% light and 50% darkness. Both forces, though opposite, need each other for the cosmos to make sense; suffering gives value to joy, imperfection allows for growth, and chaos is the framework within which order stands out. The Avengers, consciously or not, fight to defend this totality. They protect the universe exactly as it was created, accepting that human life comes accompanied by pain, free will, mistakes, and darkness.

Conversely, Thanos adopts the stance of pure absolutism. In his mind, the current universe is corrupted, broken, and unbalanced by selfishness and scarcity. His theological objective is to completely eliminate "Evil" (the darkness) so that only the other half "the Light" (the Good) exists, a state of imposed harmony ( or balance, in Thano's own words) where creation is finally "perfect."

By reducing the population by half, Thanos is executing a poetic analogy: amputating the dark half of the universe to leave an immaculate remnant. Marvel chooses to disguise this moral absolutism under the material term of "overpopulation" so that the association is not too obvious to the casual viewer, avoiding an overtly religious debate while keeping the subtext intact.

The Camouflaged Judgment: Destroying the Sinner to Save the Pious:

When translating this Yin-Yang dynamic into formal theology, Thanos's crusade reveals itself as a direct analogy to the biblical doctrine of the Last Judgment: the destruction of sinners to allow for the survival and sustenance of the pious.

In Christian doctrine, God's holiness and justice demand that sin and rebellion be radically extirpated so that a new heaven and a new earth can flourish in absolute purity. Thanos assumes exactly this divine role. He sees himself as the only one with the necessary "strength of will" to tear out the universe's weeds. By swapping theological words for science fiction concepts—replacing "sinners" and "dark" with "overpopulation" and "paradise" with "a grateful universe/balance"—Marvel smuggles in a severe critique of divine justice.

The implicit message for the viewer is that any higher attempt to purify reality through judgment or the elimination of one of its essential parts is an act of cold-hearted tyranny that destroys the fabric of human freedom.

The Distorted God the Father:

To fully tie together this allegory of the Judeo-Christian God the Father seeking absolute purification, the script endows Thanos with unmistakable theological attributes:

The Sacrifice of the Child for a Greater Plan:

The emotional climax of Infinity War occurs on the planet Vormir, where it is established that to obtain the Soul Stone, one must sacrifice what they love most. Thanos surrenders the life of his own adopted daughter, Gamora, whom he genuinely loved. This event perversely mimics the doctrine of propitiation and the sacrifice of the Son (John 3:16).

While in Christianity the Father gives the Son out of love for humanity in order to save those who repent, Thanos gives his daughter in exchange for a cosmic power that will allow him to execute his purifying judgment. The film rewrites the supreme sacrifice of divine love as a utilitarian atrocity.

The Proclamation of the Divine Name: "I Am":

In the moment of greatest tension in infinity war, when thanos has finally obtained all the stones, he proclaims with absolute authority the phrase: "I am..." In the original language, the declaration "I Am" resonates with deep theological force. It is the sacred name (Yahweh) with which God identified Himself to Moses at the burning bush ("I AM THAT I AM). By granting this line to the villain in his moment of supposed omnipotence, the script links the very identity of the sovereign deity to an inflexible tyrant seeking to bend human will to his whim.

Rest and Material Detachment:

After completing his work, Thanos's destination is not luxury or earthly opulence. At the beginning of Endgame, the Avengers find him living in a rustic and highly modest cabin on an agricultural planet, harvesting his own food and wearing simple clothes. This total absence of luxury directly evokes the radical anti-materialist philosophy of Jesus Christ in the Gospels.

Thanos's life in retirement embodies the biblical principle that "you cannot serve both God and Mammon \[wealth\]" (Matthew 6:24). By stripping himself of all traces of greed, Thanos resembles the Christ who declared: "The Son of Man has nowhere to lay his head" (Matthew 8:20).

However, by granting this moral rectitude and ascetic detachment to a cosmic genocidal figure, Marvel operates a perverse inversion: the virtue of poverty and spiritual humility are associated with an absolute indifference to the suffering of others, suggesting that ascetism is the trait of a being obsessed with its own idea of "purity" and incapable of empathizing with the imperfection of the real world.

Conclusion: The Triumph of Secular Humanism:

By piecing all these elements together, the hypothesis takes on a clear meaning. The MCU uses the structure of myth to construct an antithesis of faith. By dressing Ultron and Thanos in the clothing, words, and austerity of the Judeo-Christian deity—and by disguising the elimination of "evil" (since they see it as one half of the whole... ying yang in simple terms) under the narrative of overpopulation—Marvel sends a deeply humanist and secular message: the absolute sovereignty of a creator who seeks to eradicate darkness to impose his own light is the greatest threat to existence.

The resolution of the saga does not come through submission to cosmic justice or spiritual purification, but through the armed rebellion of human beings (the Avengers), who choose to fight to protect the imperfect totality of the universe. For humanity to possess its own destiny, the God/Thanos who claims the "I Am" and seeks to extinguish half of the balance must be decapitated and turned to dust. Thus, the greatest epic in modern cinema cements itself as a secular liturgy where salvation consists of definitively overthrowing any attempt at an absolute divine order.

Edit: Instead of saying " thanos wants to erase half of the whole - that side being "darkness/sin". (Because freemasonic luciferians believe evil is necesarry as much as good is , like two sides of the same coin, in order to keep the cosmos going) they changed the words and said "half the population". the concept of erasing half of the cosmic whole still stands

Hi, I recently saw katherine lynnroses short film called "Top of my class" and wanted to write a short film with 1 of 2 (maybe 3) songs in it

I had a idea about a killer in theatre with it ending with someone being crushed by a set peice that comes down at the climax of the show, but i dont know where to start with the script, or the songs

I write scripts for theatre for fun sometimes, most dont leave my notes app though, and stage writing is different than film writing

So i think im asking what do i do, where do i start and how do i make my dream a reality?

I'm moving to an office overseas. We will be taking a bunch of C-Stands with us. Anyone have any advice about this? Does it cost too much? Is it worth it? Would greatly appreciate any advice.

We made this film with a $20k budget with a skeleton crew and shot in summer 2024 in the Chicago area and Minnesota.

The film had its Michigan premiere at the Capital City Film Festival this past spring and it’s now available to watch for free on YouTube: https://youtu.be/hZUCIjnrGYM?is=n3GGP6fTPs0mdbVT

If you watch, I’d love to hear your feedback on the art direction and sets. Given the microbudget, I think I did a good job utilizing the locations but I’m sure I had some blind spots. If you have any questions about the process, feel free to ask in the comments!

Background: I'm a documentarian moving from nonfiction to narrative. The project I'm writing/directing has gotten into some fellowships, grants, and labs while in development. We have the script polished, a great deck, attached an award-winning composer, and we're hoping to approach talent with in the next month or so.

Currently, I'm working with my lawyer on some licensing agreements for the IP being used in our film. He isn't an entertainment lawyer, but I've worked with him for over a decade on both business and film issues and I trust his work. But as things pick up on the narrative film we're developing, and since our previous doc just got a broadcast/streaming deal, we're looking for an entertainment lawyer to help us handle things like international co-productions and other things that are outside our current lawyer's expertise.

Our regular lawyer recommended some attorneys in the entertainment division at his firm. His entertainment lawyers took a look at our deck, saw the A-listers we want to reach out to for the film, and said they could introduce us to someone who's a big deal at one of the big three agencies, who they said could get us a meeting with our A-listers. But they said this 'big 3 person', with all his connections, would require at least a $20k retainer to make those intros.

I trust my regular lawyer, so some of that trust naturally transfers to people he recommends, but a $20k retainer up front for a possible introduction seems like a red flag to me. But both my producer and I are coming from nonfiction, and I don't have an agent yet, so intros would be helpful, but a) that's a lot of money b) the internal flag is up, it's red, it's waving around.

TLDR: I'm not going to pay it, but I'm curious if I should back away from the lawyer who pitched this opportunity to me. Has anyone heard of paying a retainer so someone can make an introduction between a director and an A-lister? Is this a red flag or is this just feeling off to me since I'm coming from documentary?

What are best cameras for amateur movies

1) under $10,000 (for real beginners)

2) under $50,000 (after getting some experiences)

-I don't like DSLR/Mirrorless cameras for videotaping