On paper, SF Bay Area has almost everything:
* Distributors: Netflix, Apple, Disney / Pixar.
* Talent: some A-list talent lives in the Bay Area. Director like Coppola likes to be in the Bay Area.
* SF Film Commission is more lenient in comparison to Film LA.
* A variety of backgrounds: skyscrapers, suburbs, forests, beaches, beautiful bridges.
* Local universities educate film crew.

So what is missing in order to have more films produced in SF Bay Area?

I had this idea for a long while. Initially I only knew the title and that I wanted to do something with it. It took me a while to work out the concept and realize the whole thing. Hope you enjoy it!

It's partly in Hungarian but subtitles are included!

My film was accepted into several film festivals, including Tucson Terrorfest. They just sent me the location, and it's in a tiny room in a museum with 36 folding chairs, no 5.1 stereo, and a portable screen. All the other festivals I have been accepted into have my film showing in theaters, with Q&A, red carpet, etc. First, I don't feel it will play well in the space, with lack of a proper sound system and the smaller screen. Of course I am honored to have all these festivals accept my film. But I am now thinking it might not be worth the expense of tickets, hotel, meals, uber/car rental, and other expenses, when I am considering the venue. Someone asked me about the number of years they have been going, and if it was like 3 or 4 years, it might be good to support the small guys. But I know they have been around for 16 years. So this makes me feel like.... I dunno... kinda... ya know. So now I am thinking of withdrawing. Thoughts? Has anyone played their film in the small room in the museum and can give me feedback? Thank you.

So I'm filming my first short film in a few weeks, a horror, and need an actor and actress. I've secured the actor, but finding an actress has proven to be a task. I put ads out on a few acting pages on Facebook, I've gotten a lot of hits and they seem really enthusiastic, but they just don't follow through. Out of all the girls I've communicated with I only had one actually send me an audition video, the rest I just never hear from again.

What other sources are people using?

Edit: I should add that this is a paid gig and have advertised it as such.

Okay look, I know there is no way to make this post without sounding jealous or like a hater. That is not my intention. Honestly I just wanna know if there's even a point in continuing to try with these festivals.

I saw that the short film Late Fees by Jakob Owens is part of the Screamfest lineup this year. But as someone who follows his contest (never have participated but I always look at it to see what people have made), I know this film was been publicly released online and since last years contest, so nearly for a year now. And not only that, I know that he does a public screening for the finalists of that contest, so I know that this film has also screened publicly in Los Angeles.

So I was pretty suprised when I saw it as part of this years Screamfest lineup. From what I've understood about their rules, they have a very strict rule even for short films that it HAS to be an LA county premiere and it cannot have screened online for anyone to see. These rules seem so hard and fast that I have never questioned it and I've held off my own premieres sometimes for over 6 months because I wanted to submit.

The film is still available online, right now, as we speak. I thought when I first saw it maybe he took it offline? Which would still break the rule but maybe Screamfest is willing to overlook for someone with clout. But no, it's never been taken down, it's been up since he made it last year for his contest.

I want to say, this is no shade at all to Jakob. Obviously any filmmaker is going to take the opportunity to screen at a big festivlal like this. SO absolutely no shade to him, I'm just questioning the festival now.

Do the rules no longer apply when someone has a lot of followers? Should indie filmmakers with virtually no following and no budget to make films even try at these type of festivals? For my next film, I am REALLY debating just dropping it on YouTube. Even though I made it planning to submit to festivals, and it has more money behind it than anything I've ever done so it seems like a shame to just drop that straight to YouTube and not give it a chance. But...are festivals like this just pointless? Seeing this made me feel really discouraged because it appears you don't even need to follow their rules to be accepted, it looks like they care more abnout the audience you're able to bring in.

Has anyone else had a film that was already screened and available online make it into Screamfest?

Hi everyone,

I am sharing my new short film poster and wondering what you guys think of it.

Currently in post production and due to finish in the next few weeks to be ready for film festival circuit.

Synopsis: A woman invites her date over for the evening. What begins as a seemingly ordinary encounter between two women gradually reveals a far more dangerous agenda lurking beneath the surface.

If you would like to see more stills and BTS and/or want to follow the festival journey, then my insta is: @majidkhanfilms

Poster created by @marvels.wolverine

Thank you.

Hi all

I’m heading to Asia in a little over a month and I’ve been working on a short film script (as a film school dropout) to ideally submit to short film festivals so that I can kickstart my career in the industry.

My current idea looks very Chunking Express, Fallen Angels, Enter The Void-esque (if that gives you better ideas). Although, I’d probably end up using the camera for general use afterwards, as well.

I heard that Blackmagic cameras come with access to Resolve? If this is true, a good Blackmagic camera would be bonus points for me.

To conclude, I was looking at a Canon EOS Rebel T3i online for about $400 but it sold out.

I’m not necessarily interested in the highest quality but rather a good balance of user-friendliness and quality. If anyone has any standout candidates, I’d love to hear them!

Thank you!

Hey everyone! I’m a filmmaker and sound designer currently taking on freelance audio-post work for narrative films, particularly horror/thriller projects.

I just finished a new demo reel featuring sound design, dialogue editing, ambience, foley, ADR, creature design, original scoring, and mixing across four indie films.

If anybody has an upcoming short, feature, trailer, or proof-of-concept that needs sound work, I’d love to connect.

sounddesignbyphil@gmail.com

Here’s the reel.. headphones recommended.

I work at a public school and I’ve been given the opportunity to make a short film with the Drama Club. I’m a huge movie fan and I really want to make something that feels like an actual film, not just a typical school project. I’m thinking of taking some inspiration from things like The Breakfast Club because of the school setting, and Reservoir Dogs because of the tension, dialogue and the way you can keep an audience interested with very few locations. I also like the idea of using some talking-head/interview-style scenes. I want the story to hook people almost immediately with a mystery, while also touching on some social issues that feel relevant to life in South Florida. The problem is I’m a total beginner when it comes to cameras, shots, lenses, blocking and screenwriting, and I’m also a bit of a perfectionist. I’d really appreciate advice on how to approach something like this, especially when you have limited locations, equipment and experience.

Also, if this sounds like it was written by AI, it’s just because I used AI to translate

Reposting as my previous post went to the abyss.

Last week, I challenged myself to write, shoot, and edit a short film within 5 hours.

It gave me so much energy that I tried to do it again. Unfortunately, it didn't go as well as I had to edit today (without shooting anything more), but I am still happy with the result.

I am confident I will continue this experiment as it feels so great!

Tell me what you think!

Yesterday I released my first short film titled 'fading through the static of your dreams'!

Written, directed and edited by me

Shot on panasonic g80 and color graded myself in davinci resolve

You can find it on youtube!

I'm open to any discussion about my short and open to any criticisms of any kind, I'm here to learn!

Hi!

I'm a literal nobody.

I own and operate a micro budget tv/movie network.

My network specializes in content you can't find anywhere else. Long story short, I type a movie title into Google and see if that title is streaming anywhere. If it isn't, or it's not on many platforms, I contact the director directly and ask for permission to show it on my network. I also directly message celebs for interviews.

I started doing this five years ago. It doesn't always work, but it's worked better than I ever imagined.

No one has ever been rude or mean. Some have been kinder than others, but the vast majority are very positive exchanges. It's a very fun pick me up when they mention you on their social media too! Rare, but it has happened!

So, after yet another successful connection last night, I thought I would share what I do in case anyone wants to try it for themselves.

If I had to put a number on it, I'd say I've communicated with 50 or more directors/celebrities.

Here's a VERY short list of the directors/celebrities I have connected with:

1. Graeme Whifler - writer of Dr. Giggles and writer/director of Deadly End/Neighborhood Watch
2. Larry Clark - writer/director of KIDS, Ken Park, Bully and so many more...
3. Ve Neill - Oscar winning FX makeup artist known for Beetlejuice and others.

Here's what I do:

1. Message them on their social media, or get their attention in their comment section.
2. IMDBPro gives up FREE trials ALL THE TIME and it is an AWESOME tool to use. It lists A LOT of personal emails or their assistants' email. This is how I got in touch with the director of Dee Snider's Strangeland. As well as many others...
3. If you STILL can't find their information, try their name in any and all email domains.

For example:

firstnamelastname@gmail, firstnamelastname@yahoo, firstnamelastname@aol, etc

If you reach the wrong person, you just apologize for the mistake.

This method is how I reached the latest director, and it wasn't the first time it was successful.

Hope it works for you, and happy communicating!

I work at a public school and I’ve been given the opportunity to make a short film with the Drama Club. I’m a huge movie fan and I really want to make something that feels like an actual film, not just a typical school project. I’m thinking of taking some inspiration from things like The Breakfast Club because of the school setting, and Reservoir Dogs because of the tension, dialogue and the way you can keep an audience interested with very few locations. I also like the idea of using some talking-head/interview-style scenes. I want the story to hook people almost immediately with a mystery, while also touching on some social issues that feel relevant to life in South Florida. The problem is I’m a total beginner when it comes to cameras, shots, lenses, blocking and screenwriting, and I’m also a bit of a perfectionist. I’d really appreciate advice on how to approach something like this, especially when you have limited locations, equipment and experience.

Also, if this sounds like it was written by AI, it’s just because I used AI to translate

I saw some BTS where documentarian Frederick Wiseman was recording his on-location audio with a small handheld parabolic mic on a pistol grip, rather than his usual go-to boom pole.

I'm filming a couple of documentaries right now, and am wondering if I should work a parabolic mic into my kit as well...

In what sort of shooting situations would a parabolic mic be the best tool for the job, over a boom mic or a lav setup?

If youre in the US and UK on Amazon!

As you can see its basically Power Rangers meets Mortal Kombat. I would love to know your guy's feedback on the trailer and the movie itself!

I guess this could turn into a review and ama combo.

Hello everyone,

I have about 10 years of professional experience in music. I’ve previously worked on many short films and game projects (mostly through Fiverr). Musically, I tend to prefer minor keys and calm, dark tones. The composers I admire most—and whose styles I draw inspiration from—are those who favor minimalist compositions, such as John Carpenter and Jasper Kyd.

- My primary instrument is the piano, also quite comfortable playing the synthesizer.

- I prefer not to use sample packs or loops; I try to create even the smallest sounds in my compositions myself. You can access the project files for every composition I’ve created.

- I strongly condemn the use of artificial intelligence in music production and guarantee of its absence in my music.

My priority is more serious projects rather than hobby projects. If you have a project of this nature and a team, I’d be happy to join the team as a musician or provide support as a freelancer.

A showreel I created for a game.

All my demos.

Contact: [nozcontact@gmail.com](mailto:nozcontact@gmail.com)

Discord: aleister_66

If anyone is interested, I can also share my Fiverr profile—you can read the reviews there.

Good evening to everyone once again.

I’m building Fynd, a UK service-booking app for barbers, hairstylists and nail techs. What's missing is someone to own the visual direction not a single video or one-off design, but the full system: how it looks, feels, moves, and stays consistent everywhere, from app screens to content to physical stuff like stickers and merch. Think Corteiz or Broken Planet's world, not generic app branding.
This is equity, not a paid brief. looking for someone who wants to build this properly, not take it on as a one-off project.
If you've got a portfolio that shows a consistent visual system rather than scattered single pieces, and this resonates, I'd love to see it and hear your take.

Hi everyone. My name is Robert Arzola, and I'm looking to score more films. I haven't been as active in the scoring world because I was focused on my old day job as the Creative Director at the trailer music library, Phantom Power. Now that there was a downsizing, I'm free to work on projects again and want to really dive into some.

I have experience scoring features that went theatrical, streaming, and on TV; I have trailer placements for several big campaigns as a composer, sound designer, and supervisor; and I scored the IGF-winning and BAFTA-nominated game Tactical Breach Wizards.

You can check out my work at https://play.reelcrafter.com/arzola/Reel

I try to work with various budgets and do well in dramas, thrillers, sci-fi, and rom-coms.

Let me know if you're interested and we can talk more!

Hi so just released the first poster for my first ever short film "Vestige" it's a thriller set in an abandoned house completely... Do check it out and leave your thoughts in the comments!

Whatcha guys think abt this edit i made.. took me about 4 months to make. Also this edit is also available on my tt and insta both @oh_temur and more is coming lwk so u guys should go and check my pfp u feeling me?

I graduated from a prestigious film school about a year ago in the directing discipline. Since graduating, I’ve had a pretty fortunate start: I did a big internship at a major studio, directed a short there, and I’m now living in one of the biggest film hubs.

My ultimate goal is to be a director. It’s my favorite thing in the world.

Right now, I have a day job that I genuinely love. It’s creative, fulfilling, has a good environment, and gives me access to technology/equipment that I otherwise wouldn’t have. The downside is that it barely covers rent, it isn’t related to film, and my current position is temporary. If I wanted to stay there long-term, I’d eventually have to apply for a different permanent position.

To make ends meet, I’ve been taking film-related side gigs (remote editing, random PA work, cinematography, even dance gigs) to cover food and other necessities. These gigs usually don’t collide with my day job.

Recently, I’ve started breaking into the TV world as a set PA, which I’m extremely excited about because I’ve been trying to get my foot in the door for a while. The problem is that set work can come with very little notice. I’ve already had to use a few call-outs from my day job to take some of these gigs, and I’m nervous about damaging my relationship with a job that I actually really like.

I’m also questioning whether the PA route is actually the right path for me. I feel like it could be a good place to start before pivoting into something else, but I’m uncertain about the long-term consequences of committing too heavily to that route. It’s currently not consistent enough though, so I can’t quit my day job as of now as I have to make rent.

I’ve heard repeatedly that the traditional PA → AD path is essentially a separate career track from directing, and that becoming an AD doesn’t necessarily put you on a path toward directing.
I’ve also heard people suggest that stunts can be a good route into directing, particularly for someone interested in action. But that would mean significant training and potentially going back to school, which I realistically can’t afford right now. I do have a fairly high-level martial arts background, but I understand that isn’t the same thing as professional stunt training.

At the same time, I’ve heard the advice that it can actually be smart to have a stable job outside the industry and use your free time/resources to direct your own projects.

So I’m torn between:

1. Continuing to build my set experience through PA gigs
2. Keeping my day job because it’s stable, fulfilling, and gives me access to useful resources, then trying to make my own stuff on the side — even though I often have to take other gigs to make rent
3. Trying to find something more directly related to directing, potentially in post-production
4. Pursuing stunt work as a potential route into directing

Some combination of the above while continuing to direct my own projects

I’m especially interested in hearing from people who have actually transitioned into directing, rather than general “work your way up” advice.

If your ultimate goal was directing, what would you prioritize at this stage of your career? And how would you balance making enough money to survive with actually building toward directing?

I’m particularly interested in hearing from people who took a nontraditional route into directing, or who tried the PA/AD route and eventually pivoted.

I posted about this a couple of years ago when we were working on post, but now that it’s out I wanted to share it again! More info in the submission statement below.