The following is a sponsored editorial post from The Music Bed. For filmmakers, The Music Bed offers the valuable opportunity to license from a highly curated selection of music for use in films, commercials, etc. Their mission is to help visual artists tell their stories better than ever and this month, they want to help you bring your dream project to life through their new campaign: #ProjectFilmSupply. Here’s how it works: starting August 4, filmmakers will have one month to submit a short film idea along with an accompanying mood board. Participants are encouraged to use social media throughout the […]

It’s hard showing your movie to other people for the first time. You put your heart and soul into it to the point that you either run out of ideas, money, energy, or all three, and you finally have to show it to people. You play it, seeing all the things you’re still not quite happy with, and then you have to listen to them point out all problems you already know are there. You have to have a thick skin, or an ability to just keep on going, to keep doing this. I attended a feedback screening of a […]

Adam Epstein is a freelance editor. For the last five years, he’s worked with the Saturday Night Live film unit, editing parody pieces of all kinds. He’s just begun a nationwide workshop tour with “The Cutting Edge Post-Production Tour,” a day-long seminar covering techniques, theories and editing insights. We recently spoke to Epstein about editing, working on SNL and the workshop tour. Filmmaker: How did you become an editor? Epstein: In my experience, it’s never a direct path. I started out in school, working on a student-run sketch comedy show, and we were able to get our hands on some of the […]

Writer, director and editor Devin Lawrence says that when he set out to make Sympathy, Said the Shark he’d already gone through two projects which had stalled out due to lack of financing, so he decided he had to come up with something where “money can no longer be the ultimate road block.” The resulting project was shot in 14 days and primarily in one location, but it was by no means a simple project to make as much of it was shot using a POV rig built around the Blackmagic Pocket Camera. Lawrence, who works in LA primarily as […]

June proved to be a rich month for non-linear editor users. Adobe released their latest Creative Cloud update, Apple updated Final Cut Pro X, Motion, and Compressor, the public beta of DaVinci Resolve 11 was released, and the Mac beta of Lightworks finally appeared.   Adobe Creative Cloud On June 17 Adobe released the second major update to Creative Cloud. For Premiere Pro this release adds a new masking feature for effects. You can now easily add an effect mask either using an Oval or a four-point polygon tool. A built-in tracking tool makes it possible to track a shape […]

In addition to the ten projects and filmmakers named 2014 Narrative Lab Fellows this morning, IFP, the parent organization of Filmmaker, also announced that they will offer one-week, theatrical first runs for IFP alumni, members and others at the Made in NY Media Center by IFP. Since the popularization of self-distribution, many filmmakers have squandered good resources on four-walling for the sake of that New York Times review. IFP’s decision to open up their screening room for submissions (come July) offers filmmakers a built-in curatorial buzz. As noted in the release, IFP will begin the initiative in the fall with the theatrical runs of […]

It’s no surprise that Wes Anderson’s The Grand Budapest Hotel was a technically complicated production, and a video posted this week by VFX house Look Effects, Inc. breaks down exactly how complex putting the movie together was. In a nearly-five-minute reel that can’t be embedded (you should definitely take a look here), a variety of post-production work is highlighted, from color correction of the typically fastidiously coordinated hotel to the mechanics of the dizzying climactic downhill mountain chase. There are surprises big and small, including the amount of physical “snow” used on-set (thereby avoiding the usual hazy look of CGI […]

At the end of 2012, Matt Syzmanowski penned a guest post for us on the development of his feature, The Purple Onion. Now, as he’s finishing the final cut of the film, he sends us this follow-up detailing one unusual step along the way: screening the film to a large audience at Cinequest as a work-in-progress. Below are his five pieces of advice for any filmmaker on improving a cut using audience feedback. — SM The Cinequest Film Festival invited us to screen our debut feature film, The Purple Onion, long before it was even completed. We knew we didn’t […]

At NAB Red Giant announced a wide array of updates and new effects across their various programs. A lot of the changes revolve around Supernova, an original framework they developed that enables them to rapidly create new effects that run quicker than before. This is the backbone of their new Universe plug-in suite, a collection of 50 effects, everything from lens flares to retro film looks. Universe is also experimenting with the subscription model, though not forcing anyone to commit. You can choose a recurring pricing option for $10 a month or $99 a year, or get a lifetime membership (essentially […]

Besides the new URSA and Studio camera announcements, Blackmagic announced some new updates to their popular coloring software DaVinci Resolve. While the newest version boasts over 100 new features, the vast majority of them are improvements to the editing capabilities. In previous versions the editing area of Resolve was more for making tweaks to an ingested timeline to correct any errors or drop in footage that didn’t import properly. Now it’s aiming to be a full fledged editor. The latest version adds a bunch of features you’d find in most NLEs – lots of timeline trimming options and keyboard controls, […]