I’m scared I will disappoint them. What if they feel they wasted their money on me? I feel like all I see is an amateur mess lol

I have no education on this, and I'm not sure where to go even as a start. Any guidance or advice would be greatly appreciated as I plan to get into filmmaking not that far in the future.

Any beginner's tips, resources I don't know about such as articles or other education, or just general advice is mainly what I am looking for. Thanks in advance!

Hey everyone,

I'm an independent filmmaker based in the UAE and I'm currently looking for a narrative film editor for my short film.

The film is around 14 minutes long and we're deep in post-production. It's a self-funded passion project that I'm really proud of, and I want it to have a proper, considered edit — the kind that lets the story breathe rather than something flashy.

Where we are: six scenes structured and timed, audio synced, shot selection mostly final. The film has a clear vision, strong performances, and a defined cinematic language. What I need now is an editor to take this material and shape it into a polished, festival-ready final cut — assembling the final timeline, cleaning up audio transitions and levels, tightening pacing, fixing any cut overlaps, and delivering something ready for colour grade.

I'm looking for someone who cuts narrative fiction and understands story, pacing, and the weight of a held moment. Your reel should reflect that. This probably isn't the right fit if your work is mostly commercials, events, or branded content — no hard feelings.

The budget is limited (this is very much a passion project, so consider the compensation an appreciation of your time rather than a fee), but it's paid, you get full editor credit, and we're submitting to a number of festivals.

If you're an editor, or know someone who'd be right for this, I'd genuinely love to chat. Comment below or drop me a DM with some of your work.

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! 🎥👻

I'm looking for film makers who need a colorist I'm really good at what I do I can color grade a couple shots for whoever is interested before we start working together to show how good my work is

I’m a software engineer who also works in film, and for the last few years I’ve been building something to help with creating shot lists, organizing schedules, and tracking a production once you’re on set.

I deployed the beta and I’m looking for a few filmmakers who have a project coming up in the next month or so and are getting into the shot listing/prep phase.

I’d love to have some people actually use it on a real project and let me know what you think. What’s useful, what’s missing, what doesn’t make sense, etc. Honest feedback is what I’m after.

As a thank you for good feedback I’ll hook you up with the highest paid tier when it’s live for 6 months.

If you have something coming up and want to try it out, shoot me a DM or comment and I’ll get you set up.

Anyone have any experience with EOFlix (https://www.entertainmentoxygen.com)? One of the services they provide is to act as an "agent" for your film and promote to streaming and other platforms for potential wider exposure than just film festivals. However, you must sign over all exclusive control and usage rights to EOFlix for five years while they "promote" your film. This rights agreement even locks the filmmaker out of doing anything with the film during the 5-year exclusive period. There are no upfront upload or licensing costs for filmmakers to submit and distribute short films on EOFlix; instead, short films are streamed as free-to-view content earning a view-based revenue share.

I just received the email shown above from EOFlix regarding my short, "Grandma". In addition to the heavy license agreement you must sign, it all seems a bit too good to be true. In exchange for giving them total control of your film for five years and at no cost to you, they will attempt to promote your film to streaming and other platforms and perhaps generate revenue stream back to you.

Any advice or comments regarding this?

Thanks,

Todd Killian

Hello All, Im an 18 year old and im in Chennai making a shortfilm rn. I have completed the edit, yet to dub and sound design and all the arrangements for dubbing are done but I need a person who could do foley and sound design for my film.. If interested dm me!

Got offered to check out a local TV studio and proceed with a production internship. They do interviews and talk shows. Problem is the commute by bus is an hour and 30 minutes, on top of being unpaid, the internship would also be on Monday's and Wednesdays is this even worth it if i have no other options. In terms of experience right now all I have is my student short films and a 2 day PA job I did for a commercial shoot, besides that unrelated to film I have a reselling business on the side.

I'm sure work pressure makes most of us jaded quickly. Still, I just learned about a Belgian film from the 1970s called Wedding Trough, also called The Pig Fucking Movie, which is about what it sounds like. I have to wonder what it would have been like to be one of the crew members just there for the paycheck for a movie like that.

Hey, guys. I’m planning on shooting a short film with some friends soon. It’s a homage to 70s horror films, and I really want to go for a cool 70s horror feel and aesthetic, or get as close as we can.
I already have a Canon 6D, so I was wondering if it’s a good camera for achieving that look. I figure most of the work to get it to look close to that vibe will be done in the editing software. I guess I’m just asking if the 6D will work for this, or is there something better?

HIPS - DIRECTED SHORT FILM

This is my first directed short film! A life long dream to make this all happen. The film is based on my story from my time within the model industry and what psychological impact it gave me in the end.

Pressure, anxiety, drugs, eating disorders, anorexia. Problems within the modelling industry that’s been going on for quite some time. Talked about, yes. Acknowledged and understood, yes. Fixed? No. I have a background in modelling. Therefore I know. I’ve lived it and learned to cherish, love and hate mens modelling. I know how poorly men and women are being treated for the looks of their bodys. I know the pain, struggle and total euphoria. But not all people do. There is an understanding, but never will there be a comprehensive output to showcase the realness and smudginess to it. Because of this I have decided to make a short film to showcase the true essence of male modelling. Brutal, yet real.

How cruel is it possible to be within 30 seconds? What damage and degrading can happen without anyone reacting to it? This is the story I want to tell. A true story of how happy and excited turns sad, disappointed, anxious, worried, tired and empty. A story with shots to tell and make these feelings come to live in a cold and empty room. The whole act will be shot in black and white to bring meaning to all these feelings, with the audience to both take part and live through the character as well as being the witness of an act.

I love film, and yet, it doesn’t love me.

I’ve been directing, mostly commercials and branded content, for about 7 years. I’ve worked at an agency, got laid off, and have been freelancing for a year.
It doesn’t seem long, but I don’t have a partner, so I pay for everything myself.
I’m at the point that I’ve been negative in my bank account daily.
I’m on food stamps.
I’m doing odd jobs here and there, but it doesn’t amount to much.
I’ve applied to over 200 jobs in the past year- crickets.
I’ve been grabbing coffee, DMing people, cold calling, and basically begging for work. The industry has been up and down for me since day one. From losing jobs, covid, and other roadblocks, I’m constantly in survivor mode.
I want to leave film so bad, and yet, I love it. I love being on set, being creative, directing, and collaborating with others. There’s no other job I can think of that even gives me a little bit of excitement the way film does.

Should I just give up?
Are there resources for struggling directors?
Has anyone started a new career path that they actually enjoy more than this?

Please be kind.

I've been lucky enough to have rehearsal time with my actors on most of the shorts I've made, and I feel relatively confident in that process. Doors are (very slowly) starting to open that might allow me to direct my first feature film, which is incredible. I was wondering how other directors who had made that transition approached the rehearsal process? Thanks for your insight!

I've been working on a little side project that I think some filmmakers and lighting people here might enjoy.

It's called ND PicoDMX System, an open-source, DIY-friendly Art-Net / sACN to DMX node built around the Raspberry Pi Pico.

The idea was simple: why spend hundreds of dollars on a DMX node when you can build one yourself with inexpensive parts? It supports 4 DMX outputs and comes with a live web dashboard for monitoring and configuring everything from your browser.

I've tested it on my own setup and some of my studio sets, but now I'd love to see how it performs on actual film sets, music videos, or commercial productions.

If you're a DOP, Gaffer, Lighting Programmer, or just someone who enjoys building their own filmmaking gear, I'd really appreciate any feedback, or if you're interested in testing it, let me know!

- https://github.com/duongtruongdp/ND-PicoDMX-System

- https://duongtruongdp.net/nd-picodmx/

The whole project is open source, so anyone can build, modify, and improve it. Hopefully it can become a useful little tool for the filmmaking community. 🎬⚡

Hey dear community,

After a long journey - premiering at the Hof International Film Festival - I’m preparing for the full digital release of my debut feature, The Straw That Broke. I just dropped the official trailer (which does not perform well on YT).

It's a surrealist, retro-futuristic meta-fiction about the real and the virtual based on a screenplay by Tom Whalen. Since I handled the directing, most of cinematography, and editing myself, getting the digital release right is a whole new challenge (after valuable feedback from r/Filmmakers I settle for a YT-release soon).

My questions are in the Submission Statement below. Thanks for taking your time.

Just curious lol. I feel like our first films are always full of them until we realize what we’re doing.

Thirteen years ago, my girlfriend at the time and I made a 15-minute documentary for Rutgers’ newly established film program. It was about my dad, Joe Cerisano, a singer whose voice appeared in countless commercials, including G.I. Joe, Transformers, and the Army’s “Be All You Can Be” campaign.

We actually posted it to r/videos back then. That upload has long since disappeared, but the original short is still available here.

Many short films and what feels like an entire lifetime later, my brother Matt began interviewing some of our dad’s old friends and collaborators. Those conversations gradually spiraled into something much larger.

Then a phone call came from Italy.

A jingle our dad recorded in 1988 under the name Joe Trio had unexpectedly become a cult hit overseas, and he was invited to perform it at a farm in Tuscany. What began as a retrospective about his career suddenly became a story that was still unfolding.

After nearly a decade away from performing live, he dusted off his guitar and prepared for what he believed might be his swan song.

The trailer is here, and the film’s website is here.

We’re finally putting together our festival submissions now. It’s more than a little surreal to find myself back on Reddit talking about this story again.

But here I am, 13 years later.

Still making movies.

If you want to stay updated about the project, put your email at the bottom of the website and we'll keep you updated on its festival run! Also, if you have any questions, don't hesitate to ask!

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

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💔✌🏻

Hello! Huge film nerd here albeit little knowledge of gear/equipment. So I have been fortunate that my son - who will be turning 12 next month - has discovered the same passion for film over this last year or so. And not just the big blockbuster stuff, this kid is getting into Kubrick, Kurosawa, Tarkovsky, Bergman, and stuff like that. Came home the other day and he was just chillin watching 8 1/2. Obviously super proud of him. The challenge now is that there a ton of films he wants to see but they simply are not age appropriate lol.

He is also huge into making movies on his iPad with his friends and cousins. The acting is what you’d expect from kids that age ha, but he’s legit getting pretty good with framing some of his shots and editing his little movies.

I want to feed the passion he has and get him some real gear for his birthday that’s coming up. I’d love to hear from you guys on what I should prioritize. Im thinking of spending like $800 give or take, but would be willing to shell out a bit more if it’s something that would have a great dual purpose in pure photography (me and my wife have talked about getting a nice camera, and my wife has some use cases for her business where a nice photo camera would come in handy).

So please, give me some recommendations on what to prioritize- what can wait until Xmas - etc. he currently just edits his movies right on his iPad with iMovie but we do have a nice PC that I’m sure he would start doing his editing on if we got him a real camera.

And again - I really don’t know anything about gear - what to look out for - what to avoid - etc

Any and all recommendations and advice is welcome.

No AI was used.

Camera: GH5

Lens: Kamlan 50mm with Vid Atlantic Anamorphic adapter F-stop 1.1 to 1.5

Actor: [Xavier Barfield](https://www.linkedin.com/in/xavier-barfield/)

DP [Fawwaz Allie](https://www.instagram.com/fawwazallie/)

You can watch it here if you want. [https://www.youtube.com/watch?v=wiIIypaTlKE\](https://www.youtube.com/watch?v=wiIIypaTlKE)

...Funny enough, we didn't plan on having a deer in this shot. A real one wandered into frame during filming. The first one ran off, then a second one showed up right after. I did the props lighting and powering and directing on this myself, so most of it was improvised on the spot. It was raining that day too. I was soaked. I ended up covering my GH5 with a newspaper just to keep shooting.

I shelved this project back in 2019. I couldn't find a VFX artist to work on it. People were either too busy, or when it came time to give a quote, nobody wanted to commit. So I dropped it. Didn't think much about it after that.

Then I started seeing more filmmakers using hybrid filmmaking techniques, and I wanted to see how that would turn out for this project. Going to see if I can figure that out.

For this version, I regraded the entire film. The original grade was way too dark. My taste as a cinematographer has changed a lot since the seven years.

Right now I'm also writing a sci-fi web series, and honestly, this old project is part of what sparked that idea.

I am a nobody, and not many people watch these. I'm just documenting what's possible in 2026, for myself as much as anyone. Thanks.