Authors — Filmmaker Staff
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Full Sail University: A Talent Pipeline for the Virtual Production Industry (Sponsored Post)
Following the filming of The Mandalorian, accelerated interest grew in the emerging technologies utilized to create this visually stunning epic. Outside of the creation of the green screen, the virtual production technology behind The Mandalorian is one the most cutting-edge recent creations impacting the industry. In fact, according to Technavio, 46% of the projected USD $1.85B global growth, is expected to come from North America exclusively. The recent popularity and capabilities of virtual production technology could not have come at a more opportune time. Virtual production technology permits film crews and productions to be anywhere in the world with the […]
by Filmmaker Staff on Apr 18, 2022 -
Filmustage, the First AI-Based Automatic Script Breakdown Service, Revolutionizes VFX Industry (Sponsored Post)
Filmustage’s automatic AI-driven web service uses neural networks to speed up script breakdown routine from weeks to minutes. What comes next? Every film project starts with a piece of paper and a script breakdown. Professionals still have to manually go word by word, scene by scene, to break down all the necessary elements for shooting: props, costumes, talents, locations, sound, visual effects. That’s exactly where Filmustage comes into play, with a revolutionary, AI-powered solution that helps filmmakers reduce manual work through the power of modern text processing technology. Filmustage’s neural networks were trained on hundreds of existing, well-formatted scripts to […]
by Filmmaker Staff on Apr 6, 2022 -
I Love My Dad, Master of Light Win Top Feature Prizes at SXSW
At its live awards ceremony SXSW announced tonight the jury and special award winners of the 29th annual SXSW Film Festival. James Morosini’s I Love My Dad — starring the writer/director along with Patton Oswald — won the Narrative Feature Competition, and Rosa Ruth Boesten’s documentary about painter George Anthony Morton, Master of Light, won the Documentary Feature Competition. Other notable winners include Iliana Sosa, a Filmmaker 25 New Face whose What We Leave Behind won two awards: The Fandor New Voices Award and the Louis Black Lone Star Award. Films will continue to be available on the SXSW platform […]
by Filmmaker Staff on Mar 16, 2022 -
The Lost Daughter Wins Best Feature at the 2022 Independent Spirit Awards
Maggie Gyllenhaal’s The Lost Daughter was the big winner today at the 2022 Independent Spirit Awards, taking Best Picture, Best Director and Best Screenplay. Among the other top awards, Zola‘s Taylour Paige and Red Rocket‘s Simon Rex won Best Female Lead and Best Male Lead, respectively. Ahmir “Questlove” Thompson’s Summer of Soul (…Or, When The Revolution Could Not Be Televised) won Best Documentary, Ryusuke Hamaguchi’s Drive My Car won Best International Film, and Emma Seligman’s Shiva Baby won the John Cassavetes Award (given to a film budgeted at under $500,000). The complete list of winners follows. BEST FEATURE The Lost Daughter […]
by Filmmaker Staff on Mar 6, 2022 -
True/False Film Fest Announces 2022 Lineup
After last year’s largely virtual film festival, True/False Film Fest returns for its 19th edition. This year’s festival— scheduled to take place on the ground in Columbia, Missouri from March 3 to 6—boasts four world premieres in its lineup (After Sherman, It Runs in the Family, Gods of Mexico and Let the Little Light Shine). The full lineup of features and short films is below; click here to read the full press release, including full demographic breakdowns of this year’s directors. 2nd Chance | Dir. Ramin Bahrani; 2022; 89 min. Director Ramin Bahrani tackles the bizarre life of body-armor inventor Richard […]
by Filmmaker Staff on Feb 9, 2022 -
Sound and Visionaries ’22: Our Picks for Awards Season’s Most Exciting Below-the-Line Artists
Filmmaker‘s current print edition contains our annual section devoted to the below-the-line artists that excited us through this Fall’s awards season. Read below profiles by Abby Bender, Scott Macaulay, Matt Mulcahey, Vikram Murthri and Vadim Rizov, and, if you haven’t checked out these films, we recommend you do! Cinematography: Passing‘s Edu Grau, by Matt Mulcahey. Costume Design: Belfast‘s Charlotte Walter. Editing: Licorice Pizza‘s Andy Jorgenson, by Vikram Murthri. Original Score: The Power of the Dog‘s Jonny Greenwood, by Scott Macaulay Production Design: The Tragedy of Macbeth‘s Stefan Dechant, by Erik Luers Sound: The Memoria Sound Team of Akritchalerm Kalayanamitr, Richard […]
by Filmmaker Staff on Jan 30, 2022 -
“The Biggest Challenge Facing Producers and the Film Industry at Large Is an Unhealthy Relationship to Labor”: Producer Jesse Hope on A Love Song
Max Walker-Silverman’s A Love Song pits a pair of reconnected childhood sweethearts—both now widowed—against the backdrop of an intimate American West. Shot in rural Colorado in the midst of the COVID pandemic, the film required precautions in excess of what was stipulated in then-new union guidelines, necessitating everyone involved to enter and form a “bubble” for the duration of production. First-time producer Jesse Hope discusses the difficulties and rewards of such an approach and how his experience working on sets with directors like Quentin Tarantino and the Coen brothers prepared him to take the reins. Filmmaker: Tell me about the […]
by Filmmaker Staff on Jan 28, 2022 -
“There Are Sequences That Still Make Me Shudder”: Editor David Pelegrín on Piggy
Piggy‘s protagonist, Sara, is a victim of intense bullying who one day watches as an unknown man kidnaps her tormenters. When the police begin to investigate, Sara remains silent, and as the film continues her relationship to the unknown man, equally repelled and thankful, complicates. Editor David Pelegrín remarks on the importance of keeping the film close to Sara’s perspective and of the potential follies of relying on test screenings. Filmmaker: How and why did you wind up being the editor of your film? What were the factors and attributes that led to your being hired for this job? Pelegrín: […]
by Filmmaker Staff on Jan 24, 2022 -
“Be as Sincere About the Complexity and the Ambiguity of Our Emotions as Possible” | Carlota Pereda, Piggy
The last two years have prompted much contemplation and reconsideration of the reasons why we make our films as well as the ways in which we make them. What aspect of your filmmaking—whether in your creative process, the way you finance your films, your production methodology or the way you relate to your audience—did you have to reinvent in order to make and complete the film you are bringing to the festival this year? I felt the need to be more honest, more truthful to the nature of my characters, to dig deeper into the theme of my movies. It […]
by Filmmaker Staff on Jan 24, 2022 -
“We Wanted to Avoid the Usual Thriller Look”: Rita Noriega on Piggy
Piggy follows a heavily bullied teen living in a small Spanish Town sees her tormenters kidnapped. Feeling grateful for the perpetrator who saved her, she refuses to tell police what she saw. Horror and social commentary are inseparable in Piggy, which tackles questions of justice and small-town morality. Below, cinematographer Rita Noriega emphasizes how she avoided aesthetics more commonly associated with thrillers and how the film has changed since its first incarnation as a short film. Filmmaker: How and why did you wind up being the cinematographer of your film? What were the factors and attributes that led to your being hired […]
by Filmmaker Staff on Jan 24, 2022
