Let’s face it: it’s a cold, cruel world out there for aspiring filmmakers, who usually have to endure an endless array of struggles to realize their creative vision. The process can made a little bit easier thanks to Film Riot, a filmmaking how-to video channel with the burgeoning and broke movie mogul in mind. Whether they are talking through various methods involved in filmmaking or giving their feedback on the latest technical equipment, Film Riot is devoted to informing the viewer of how close they can get in emulating big budget, Hollywood techniques. It is said that those who can’t do teach, but Film Riot does both, as they have also just released their latest short film, “Proximity.” Check out a few of their helpful videos, and “Proximity,” below.
Actor and producer Todd Bruno gives a rundown of advice on how to find actors for your movie. Whether you are a micro-budget production looking to find actors who will for free, or have a substantial budget and the ability to fly talent in and work with SAG, Bruno offers plenty of words of wisdom, even providing anecdotes from the casting process of the film he is currently involved in and walking the viewer through a hypothetical casting call.
Ryan Connolly discusses the Letus AnamorphX adapter, which makes anamorphic shooting easier than ever, giving you the chance to make the most of the frame. The device, when added to the camera lens, gives that widescreen look we have all come to expect from the biggest movies. In addition, Connolly runs through some pretty nifty DIY tips for young, broke filmmakers of how to achieve lens flares on camera.
A key component of a film’s visual style is the stabilizer, which can allow the filmmaker various levels of camera mobility depending on how effective they are. Ryan Connolly reviews the Glidecam 4000 and the Rhino Steady, two hand-held systems that enable movement while filming.
Before yelling action, a tremendous amount of preparation can be invested in what the film will look like. Ryan Connolly goes over the storyboarding process, which he aptly describes as “making the movie before you make the movie,” giving a peek at the storyboarding of “Outsiders” and illustrating how invaluable of a process it can be in crafting one’s vision.
If you’re a filmmaker with a taste for the supernatural, Ryan Connolly has come up with a skillful in-camera effect that gives off the look of a ghost. By simply using a piece of glass to reflect a character into the camera, the character is automatically rendered as semi-transparent, a low-cost way of giving off an eerie and unsettling vibe.