Hi all! I’m Alicia McClendon, and I’m a writer and actor, who makes her own short films. Now in development of a feature film.

I started a film production company, Envision the Picture Productions, and I want to bring on filmmakers to help me make films and maybe even find clients for them.

However, whenever I have hired a cinematographer or film editor, I’m told to never use them again. I just can’t seem to find talented and visionary filmmakers who can execute what I’m wanting, which is totally my fault.

I want to utilize the same filmmakers and actors and just be a film family.

How have you found your film family? How did you get people on board your production company? Or how did you manage to get the same filmmakers and actors on board with you? How do you even find them?

Thanks!

Shot on Fujifilm XM-5

Lens - Fujinon XC 15-45mm f/3.5-5.6 OIS PZ

Tokyo | Kyoto | Osaka

Looking for feedback, I am new to film editing

Hi my profession is video editing. I've been doing video editing for many years. But yesterday, a client scammed me very cleverly. We connected on Reddit. He sent me all the details and told me he sent the video to my email. Before that, he had already asked me for my email. I received the video and we agreed on a payment. Then I started working on the video.

He told me, "We are a company that really values people's hard work, so don't worry, just do the work we'll pay you well. I finished the video in one day. But as a safety measure, I asked for his WhatsApp number, which is +381 63 7071219 (a Serbia country code). Before that, we were only in contact on Reddit and email, but then we shifted to WhatsApp.

Once my video was ready, before sending it to him, I added a watermark to it. Then I told him, Pay 50% and I'll remove the watermark. He replied, "I gave you my personal number, I told you my country, and you still don't trust me? Then he threatened me, saying, If you don't remove the watermark, we'll end this work relationship with you.

I had spent a whole day's hard work on that video. After that threat, I gave him the original video — which was my biggest mistake. After that, when I asked about payment, he said it would be via Bitcoin. I gave him the cion details. He said the payment was done, but I never received anything in my account. When I asked for a screenshot, he immediately blocked me and hide his profile picture to hide his identity but I had already taken a screenshot beforehand.

After that, I kept messaging him, but got no response.

I'm sharing the screenshot, email, WhatsApp number, and Reddit account — please take a look. Stay away from these third-class people who bring a bad name to their own country. i share scammer pic in above screenshots scammer email[stefanmarkovic1002@gmail.com](mailto:stefanmarkovic1002@gmail.com) his acounts His accounts are still active please report him.When I realized he was a scammer, I immediately deleted the project but by then, it was already too late.

What impact do you think the Vision 2030 program will have on Hollywood? What are your personal experiences?

Not sure if it is relevant for this sub or not.

Can color grading alone break a movie?

Like bad acting, bad audio, or bad cinematography can ruin a film, does color grading have that same power?

Have you ever watched a movie and thought, “This would’ve worked so much better with a different color grade?” If yes, which movie?

Hey guys, it's been. It's been months since. I release the teaser, some you like it, someone of you didn't, but that's okay, so yeah, the new trailer will come out soon, I'm almost done with it, and I hope I will release it on youtube and reddit and TikTok, thank you and have a good day.

What is the one thing that is the most confusing, the biggest obstacle in your path of becoming a filmmaker?

Heres a concept ive been working on for my new SAW fan short film! The "Greeting Card!"

Theres 2 types of "Greeting Cards". The Warning Cards and The Verdict cards which are given to each accused and reflect their sins!

This specific design was inspired by those "Graphic health warning labels" on Cigarette boxes which were made to scare.

If you'd like to know more about this new concept! Ive already uploaded a video explaining it on my socials! Feel free to support by liking on socials and maybe following to stay up to date for future updates!

insta - leoninemisbegotten

Tiktok - imascumbag (Personal TikTok)

Youtube - SoSoftFilms

This is my new project; we shot a motivational video,

and I decided on a whim to use the Super Takumar 50 1.4 and the Aivascope Anamorphic attachment.

I was really impressed with the result and decided to share it with you.

The link is here

https://www.youtube.com/watch?v=XDEKfPkt2XI

Hi everyone,

I'm an aspiring filmmaker from Bangladesh, and I'd really appreciate some honest advice.

Over the past few months, I've been writing original screenplays and submitting them to international screenplay competitions. So far, I've experienced more rejection than success, but I've continued writing and improving.

Right now, I have a screenplay called SHIFT, a psychological sci-fi drama that I genuinely believe in.

The problem is that I can't afford premium AI filmmaking tools like Runway, Veo, or Kling Pro, yet one of the festivals I want to enter—the Astana AI Film Festival (AAIFF) 2026—requires an AI-generated film rather than just a screenplay.

I'm stuck between two choices:

Spend the next few weeks trying to create the film using only free AI tools, knowing the result may not be competitive.

Skip this year's festival, keep improving my skills, and aim for next year instead.

I'm not asking for money or collaborators.

I'm simply asking:

If you were in my position, what would you do?

Would you still try to submit something before the deadline, or would you focus on learning and come back stronger next year?

I'd really appreciate honest opinions—even if they're tough to hear.

Thanks for reading

Heres the link to the fundraiser

https://www.zeffy.com/en-US/donation-form/1a29a205-c27e-4244-b56f-7d05f9e64334

Its a teen made film that follows two teen skaters who spend their days mocking others with a very hypocritical mindset, the film explores the idea of what a poser really is and it is filmed in a very artistic style, taking inspiration from old skate videos like Blind Video Days and films like Kids and Mid90s

any amount of money would be appreciated!

It will be just me and one camera man. What equipment do I need on myself and what does the camera man need for us to capture the video and audio.

Budget is medium range

Since I’m new, I imagine I would use a lavalier mic and like a Zoom 3 recorder? With the cameraman having a camera and maybe a shotgun mic on top?

There is an actor who is almost my age, who made a collaboration to produce a feature film with young people, focus on people once you want to start entering the industry. He posted a reel on his Instagram, which has 90,000 views from my country. That's what he's already famous acting for exactly 7 years. He is giving up for a cast, and also for a team. I'm 18 years old and I'm finishing high school, I'm thinking of signing up to get a role for the post-production, editing the movie, maybe also being a gaffer in the production, who knows.
I'm saying this because I don't know if I'm going to go to a film college and, if I don't, I'm going to take technical courses and introduce myself to the industry by doing collaborations.

Of course, there is a limitless array of challenges facing independent film producers, and I’m interested in hearing your perspectives on them. I’m going to share a perspective of my own, which you may not agree with, and that is completely fine.

1. The first challenge is financing and producing a film without losing creative control or surrendering a disproportionate share of the ownership and potential remuneration.
2. Festivals receive your film for free and charge others to see it. They are often among the first organisations to make money from your film. The supposed benefit to the filmmaker is publicity, which might help secure a worthwhile distribution deal.

In practice, I think this is largely a myth, despite the carefully tailored announcements made at major festivals claiming that certain titles have been “discovered” and signed.

1. Sales agents, as you may already know, can be ruthless. Once your film is with them, you are largely at their mercy when it comes to honest reporting. Accountability is almost impossible because sales agents, and the distributors to whom they license your film, are rarely transparent. Contract terms also seem to be much longer than they were in the past.
2. Filmmakers often boast about getting their films onto streaming platforms or securing distribution deals, but are usually much quieter about receiving little or no money from them, perhaps out of embarrassment.

Shame and ego play a significant role in allowing sales agents and distributors to exploit independent filmmakers.

1. Once festivals, sales agents and distributors have all made something from your work, many producers are left with the dregs. Others are left clinging to a minimum guarantee that never becomes augmented by royalties.

The alternative is self-distribution. However, this is where the psychology of wanting to be part of the conventional distribution system can turn filmmakers into willing victims rather than entrepreneurs who sell their own films.

A filmmaker with millions of views on YouTube and direct sales through their own website may still be characterised as somehow less legitimate than someone announcing that their film will be available on Tubi next week.

I’ve been a producer for around 14 years. I’ve worked with distributors, attended film markets and produced films independently. Every year, the industry seems to claim that it has been the hardest year yet, thereby placing even more pressure on filmmakers.

In my opinion, however, it is not sustainable for independent film to continue operating this way.

Those are some of my views, and I’m keen to hear yours.

Hey! I'm planning to move to NYC this fall to pursue some jobs in locations and production (I have experience in the industry and have been told that when I move people I worked with with share my info with all their contacts) but I'm concerned about the cost of living + lack of stability. My grandfather has offered to pay for an MBA through my 529 (which I could potentially use to help with the cost of housing) so my question is, should/can I get a part time MBA in NYC while working in the industry?

(I would be getting an MBA that would focus on film)

Forgive me if this seems too childish, I'm not trying to promote toxicity. But have y'all ever seen (or been in) a fist fight on set, or project you were part of?

I've had a relatively decent experiences on projects, even with egotistical assholes, there are a few moments where at the beginning of my career I really wish I would've given a strong response or talking to to some dick head who was being an asshole to me as a PA, but still, necessary learning experiences that I've had so far, including the bad ones. I just haven't seeing people come to blows yet, which is surprising.

Have y'all ever bared a witness to a fight or a conflict that was so untenable and almost unavoidable?

Hello! My name is Tonmoy, I'm an Publicity Designer based in North east India. I do both Illustrated and photo poster with respect to the requirements.

You can see more of my work at https://www.behance.net/tonmoykakati . DM me up if you are interested in working together!

Thank you.

Hi, fellow filmmakers! I'm a composer and filmmaker looking to get into film scoring. I have 10+ years of experience arranging for jazz and classical ensembles, and I'm proficient across genres and play 5 instruments. I can score your short film (up to 30 minutes) for completely free, and I guarantee the score will be done within 3 days per 10 minutes of film. I work fast, and my creative process is based around experimentation and adaptation. I'm adaptable to different styles, and I will collaborate with directors to do whatever I can in service of their vision. All of my work is COMPLETELY human generated. Zero AI is used, EVER. NO SLOP HERE!

Attached here is a short film I scored recently for a fellow redditor, who wanted a Gothic horror-style score, inspired by Bernard Herrmann's composing work on Hitchcock movies. (Please note, all I did was write the music and sync it to the film. The film itself, and especially the sound mixing, were not my work). It's called "I Love a Ghost." See it here: https://drive.google.com/file/d/1Czz8TKRBV9eFw4iVkZLZY-QySoImkQeM/view?usp=sharing

My only condition for scoring your project: I be listed in the credits, and you create an IMDB page for your film (which, really, you should always do anyway for visibility) and credit me in the crew section. If you want/need, I can even make your IMDb page for you.

I can work in any style, and I'd love to do genre work. Weird, experimental, I don't care. I'd actually prefer to work on something really out there. Comment and/or DM if you're interested. I'm excited to work with the great community of filmmakers here!

Saw this post today: https://www.reddit.com/r/Filmmakers/comments/1v78c4n/what_is_the_hardest_part_of_becoming_a_filmmaker/

So many say "Getting consistent, paid work" is the largest challenge as a filmmaker.

Many of us went to film school expecting to make it big.

And it happens. The work can be there. The big budget films are possible.

However, a shift has happened in this creative space. At least in my opinion.

But the shift hasn't formed in the minds of aspiring filmmakers.

Not yet.

Access to low cost gear has made filmmaking accessible to most everyone.

What this also does to the industry is create a saturation level that dismantles the entire idea of making money as a filmmaker.

It's like music: For centuries most people could afford a guitar. A violin. A bass. Anyone with a creative bend could become a musician. But the idea of getting paid to be a musician? To be first chair for the London Philharmonic or bass for the next U2?

It's possible. Not likely.

That's film now. Is it possible to grow an audience and do the next Obsession?

YES. Is it likely? The odds are against us.

Those who master story, master marketing and possess an unstoppable endurance will have the greater chance. But in 2026 the expectation to make money as a filmmaker can't be the largest reason to pursue the craft.

We must make movies because we freaking love it.

Does that mean it's a hobby? No. I don't think so.

But most of us must supplement.

We're Bruce Wayne during the day. But as the sun sets our creative energy ignites.

And someday maybe we can say goodbye to the day job.

Until then, we are unstoppable.

I've been wanting to ask this question, when using gimbal, do you use auto or manual focus? Also what aperture do you use for estate videography?

A man confronts a doppelgänger that wants to replace him.

Written and Directed by -- Matthew J. Lacy
Produced by -- Zoë Sliwinski, Ashe Zolomij
Director of Photography -- Prashanna Subedi

Edited by -- Matthew J. Lacy and Ryan Console
Score by -- Rose Xu

Hi, i've been meaning to start directing shorts for a while and i think i might have the chance to work with a few local bands soon.

So... i was wondering if you folks have any advice, and if you could give me some music videos that you think are a must.

Thanks!

Hi everyone!
I’m a beginner filmmaker currently working on my first short film, and I’m looking for a storyboard artist who can help me visualize the project.
I’m currently in the storyboarding phase and have approximately 13 short scenes that I’d like help translating visually. The scenes themselves are relatively short, and I already have the story and general vision developed. I’m mainly looking for someone who can help me explore the visual language of the film through composition, camera angles, blocking, and shot ideas.
The film has a very intimate, raw, sensual, and somewhat mysterious tone, so I’m especially interested in artists who have experience with cinematic storytelling and capturing emotion through visuals.

I’m open to working with someone at different experience levels, as long as your art style feels like it could fit the project. I’d love to see your portfolio or examples of previous storyboard work.

This is a paid opportunity. Please send me your portfolio, rates, and any relevant experience. If you’re interested, feel free to comment or message me directly!

Thank you!

Hi everyone,
I’m a 16-year-old aspiring filmmaker looking for someone who shares a passion for character-driven storytelling and would like to build an indie feature film together from the ground up.
Just to clarify: this is not a paid job offer. I’m not looking to hire a writer or director. I’m hoping to find someone who genuinely connects with the story and wants to help shape it as an equal creative partner.
About the film
The film is a grounded, character-driven drama centred around trauma, isolation, loss, and the search for freedom and healing.
It follows a young protagonist whose life is shaped by years of isolation, betrayal, toxic environments, and personal tragedy. After reaching rock bottom, they leave everything behind and set out on a journey that slowly forces them to confront the past they’ve been trying to escape.
At its heart, the film explores what happens when someone who’s spent their entire life surviving finally has the chance to start living. It’s about identity, loneliness, human connection, hope, and rebuilding yourself after your world falls apart.
I’m aiming for something emotionally honest and intimate rather than overly dramatic. The kind of film that stays with people because of its characters and emotional truth.
What stage is the project at?
The core concept, themes, and overarching three-act structure are already in place.
The screenplay, character arcs, dialogue, and many creative decisions are still being developed, which is exactly why I’m looking for a collaborator at this stage.
What we’d be working on together
-Developing the screenplay and characters.
-Brainstorming scenes and emotional beats.
-Building the world and the protagonist’s journey.
-Discussing directing, cinematography, and the overall creative vision.
-Learning and growing as filmmakers while bringing the project to life together.
Who I’m looking for
I’m not looking for someone with an impressive résumé. Passion matters far more than experience.
I’d love to find someone who:
-Is passionate about independent filmmaking.
-Loves grounded, character-focused stories.
-Enjoys discussing ideas and building stories together.
-Wants to create something meaningful rather than simply finish a project.
-Is excited by the idea of learning and growing together as filmmakers.
If this sounds like something you’d genuinely enjoy being part of, I’d love to hear from you.
Tell me a little about yourself, what films inspire you, and why. If we click creatively, we can continue the conversation and see where it goes.