» Archive for the ‘Featured Content’ Category
For the last two years, Brooklyn-based filmmaker Bent-Jorgen Perlmutt has been directing a documentary called Havana Motor Club, which explores Cuba’s underground drag-racing community and their quest to hold the first official car race in Cuba since the Revolution. He learned quite a bit about filming in the country, and in the final days of his Kickstarter campaign to raise post-production funds, is sharing with us what you need to know if you want to shoot there (some of which can apply to other countries you might shoot in).
Have you ever wanted to just make a “quick and easy” film? That was filmmaker Joey Ciccoline’s intention for his first narrative short, a sci-fi film entitled 88:88, which has now gone on to win a handful of awards (including a Vimeo Staff Pick) and screened at festivals all around the world. But his idea for a “simple short film” turned into an exercise in creating stunning and clever practical effects without a small crew and an even smaller budget. Now Ciccoline wants to let you in on how he captured (almost) all of those effects in-camera.
After months of busting your hump making pitch videos, coming up with rewards, and tweeting like there was no tomorrow, (hopefully) you’ve found yourself celebrating a fully funded crowdfunding campaign. However, before you start reveling in your success, you might want to figure out just how much of those funds will make it into your production’s budget not only after you pay your platform’s fees, but after you pay the taxman as well. Yes, taxes can take a pretty substantial bite out of your funds, but here are a few ideas on how to run your Kickstarter campaign to make the bite less severe come Tax Day next year.
The No Film School crew is here in Las Vegas for NAB 2014, along with an estimated 90,000 other content creators (!). Every year at NAB there’s an overwhelming amount of new filmmaking gear unveiled, so we’ll be keeping track of all the breaking news over the next several days and posting the stories here in one central place. Watch the playlist above or check out all of our stories below. More »
If you’re involved with the dark arts of video in any way, there’s a good chance at some point that you’ve created, or at least come across, a demo reel. While traditional demo reels are usually your best video pieces cut to music, how can you really stand out from the crowd in any meaningful way if they’re all pretty much the same? Nora De tackles that very subject and shows off her “remixed” demo reel, talking about how it landed her a job, and how rethinking your reel could help you land your own dream job.
John Cassavetes once said, “Anyone who can make a film, I already love.” The decision to make any movie is a leap of faith, and more so when you’re a trained physicist who emigrated from the former Soviet Union and gives up a steady paycheck on Wall Street to follow your artistic, cinematic dreams. Such is the case with unlikely filmmaker Gleb Osatinski, whose new short is gaining him a lot of attention for its otherworldly appeal. We talk to him about life and film in the former USSR, the beauty of the open-ending, and risking everything for a dream. More »
Back in 2012, we covered the Kickstarter for a short film called Prospect, which would eventually go on to premiere at this year’s SXSW film festival. Besides using relatively inexpensive gear to create some fantastic visuals, the directing duo of Zeek Earl & Christopher Caldwell had quite a bit of help from enthusiastic volunteers who found out about the project after the Kickstarter campaign. The short film has finally been released to the public, and you can watch it below, and read about some of the lessons the team learned throughout the entire project. More »
For me, Donnie Darko is one of those films that needs to be found. Its Sundance premiere didn’t exactly set off fireworks and its subsequent theatrical release in the U.S. in the fall of 2001 was quiet. Thanks to DVD (and a healthy theatrical debut in the UK), though, many people did eventually find this debut feature film from writer/director Richard Kelly, turning it into a cult classic. But even after watching the film, you feel like you are still discovering exactly what Donnie Darko is. So, you turn to the Director’s Cut to find more. For me, I did find more — more questions and even more intriguing themes. Thankfully, all these years later, I had the good fortune to spend almost two hours in conversation with Kelly, watching clips from both the original and director’s cut of Donnie Darko, in front of a live audience during a Script-to-Screen panel at the 20th Austin Film Festival & Conference. Here are just a few of the lessons we learned from Kelly about his experiences with his enigmatic first feature. More »
Shooting a film on Super 16 is about as rare these days as, I don’t know, spotting a unicorn. So when Fuji shipped out some of the last of their stocks for production of her first film, Leah Meyerhoff didn’t know it would be one of the last features shot on Super 16. Just after the SXSW Film Festival premiere of I Believe in Unicorns, Meyerhoff sat down along with her two lead actors, Natalia Dyer and Peter Vack, to talk to No Film School about anything from intentionally fogging film green, to the surprising freedom that using a restrictive medium like 16mm can offer. Check out the full interview, as well as a behind-the-scenes clip, below. More »
Sure, we’re all a bunch of gear junkies, but in some ways we know, a camera is a camera is a camera. It’s just as important for every production to have a good (or at least decent) concept, and therefore, a good reason to use one camera over the other! From scrapping a 3D production to saving up for six years to buy a RED EPIC, the excerpts below from a handful of different, but very talented, SXSW filmmakers are centered around one question: what did you shoot on and why? More »
I have a confession to make. I am not, nor am ever likely to be a dog lover. OK, I know most of you are about to click away in disgust but stick with me for just a moment. My dislike of man’s best friend may be lifelong, but it stood not one wag of a tail’s chance of surviving the gut punch of feelings I experienced watching the deeply emotional bond captured in Jonna McIver’s kindred spirits documentary A Boy and His Dog. The film depicts the transformative relationship between a rescue dog called Haatchi and Owen Howkins, a boy suffering from the rare genetic disorder Schwartz Jampel Syndrome.
See just how far a little bit of three-legged love can go after the jump: More »
Teenage is not your grandma’s movie. Ok, well technically it is, but during the time when your grandma snuck out of the house, lived fast, and might have been part of a secret teenage society that innovated on the cultural norms of the day. Taking a ninety-degree turn from the Ken Burns-ian tradition of history as black and white pans with slow banjo music, this film is a visually poetic, punk-lensed rumination on what it means to be a teenager. Below, check out director Matt Wolf’s before-and-after footage, a short excerpt, and read about anything from finding techniques in old American Cinematographer to coming up with a transformative soundtrack by Deerhunter/Atlas Sound musician Bradford Cox. More »
[This is a guest post by Mark Tapio Kines] More »
If you’re looking to tell people about your film and get some buzz going, social media is probably your best bet, seeing how Twitter, Facebook, Instagram, and so many other platforms have helped filmmakers not only find their film’s audience, but get their films made. Filmmaker Robert Mockler shares how he used social media to do just that for his film Like Me, which is currently in the running for Indiewire’s Project of the Year.
This is a guest post by Robert Mockler. More »
The 2014 SXSW Film Festival featured compelling work from filmmakers with all kinds different styles and backgrounds, but they all had one thing in common: they’re very talented. From Hellion‘s Kat Candler to Buzzard‘s Joel Potrykus, No Film School ran around interviewing these different filmmakers about their process, and below is a brief compilation of one topic: advice they had for fellow filmmakers after making it this far. More »
One of the biggest reasons why filmmakers go to film festivals, including Cannes, is not just to showcase their films, but to network and make new industry contacts. In the final part of our 3-part series on how to Survive the Cannes Short Film Festival, filmmaker Lit Kilpatrick fills us in on how and where to network, including where to go and who to look out for, at the festival based on his own experience attending last year.
Preparing yourself for any film festival can be a stressful situation, and for those of you getting ready to go to the Cannes Short Film Corner, the clock is ticking! If you’re finding yourself lost trying to figure out how to start preparing for your stay, filmmaker Lit Kilpatrick is here to share a few lessons he learned from his trip last year. This is Part 2 of his 3-part series on how to survive the Cannes Short Film Corner.
The Cannes International Film Festival is one of the most prestigious film festivals in the world, but premiering, screening, and awarding the best feature films isn’t all that Cannes has to offer. Cannes Short Film Corner is an event that allows the creators of short films an opportunity to show their projects to a massive audience, pitch future projects, and hopefully make many important connections as well. However, the festivities can seem quite overwhelming, but Brooklyn-based filmmaker Lit Kilpatrick is here to walk you through Cannes and fill you in on how to make the most out of your visit. Lit describes all of the basics for those who aren’t familiar with the short film corner in part 1 of our 3-part series.
Having a two-camera set-up can have many great benefits. It can cut down on your production time/cost, streamline your work and make it more efficient, as well as provide much-needed continuity to the final product, which will ultimately raise your film’s production value. If you’re working with a skeleton crew, a multi-camera rig might be a good solution to having to hire more people, but be forewarned — there can be pitfalls to that set-up (e.g. Tommy Wiseau’s multi-camera/multi-format frankenrig that he used in The Room). Filmmaker Rubidium Wu puts this set-up to the test, mounting a Blackmagic Cinema Camera and a Canon 5D Mark III to a MōVI 10 gimbal stabilizer to see if he can cut down on costs, time, and even permit applications!
Last month, Conan O’Brien dedicated an episode of his show to the return of The Walking Dead. In honor of the widely loved AMC zombie drama, Team Coco put together a comedic Walking Dead-based opening sketch, featuring a decomposing, flesh-eating rendition of Conan. As a cinematography geek, I was blown away by how the production team managed to both emulate and parody the cinematographic style of The Walking Dead. Luckily for you, No Film Schoolers, I had the pleasure of interviewing Dylan Sanford, the talented DP who lensed this cold open. Stick around to hear Dylan explain exactly how it was done, from pre-production all the way through post. More »