by Joseph Weiler.

Let’s face it, filmmaking is an expensive endeavor, there isn’t really many ways around it unless you know a lot of people with a lot of equipment they’ll lend you for cheap or free.  Being a young filmmaker doesn’t help either, a lot of times we’re working on a fairly tight budget.

One thing that has really changed the game, especially for the younger generation of filmmakers is the introduction of the DSLR to modern cinema.  One of the many great things about the DSLRs is their ability to have so many interchangeable lenses.  That way if you have friends with similar cameras it is easy to swap and borrow lenses from one another without having to be responsible for the whole camera.

This opens up a world of possibilities.  Even just having a few, each for different purposes, can make filmmaking incredibly easier.  Stuck shooting in a tiny room? Throw on a wide-angle lens to open up the shot making it easier to fit everything in the frame.

Read the rest of this article from nffty.org.

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by Ryan Gilbey.

In 1991 two films changed the landscape of indie cinema by making the frugality of the budget a selling point. Where are the microbudget film directors now?

Hollywood has always operated on the principle that more is more: each time the most expensive film ever made arrives in cinemas, budgetary extravagance becomes a major selling point. But 20 years ago, the US independent sector stumbled upon its own marketing equivalent: the microbudget. Suddenly it became apparent that a film’s financial shortcomings could be exploited to its advantage.

In 1991, two films changed the landscape of indie cinema and the way in which it was sold. Richard Linklater’s Slacker, which drops in on around 100 misfits and eccentrics during 24 hours in Austin, Texas, and Matty Rich’s Straight Out of Brooklyn, a tale of young no-hopers in New York’s housing projects, marked the start of a phenomenon – frugality as a marketing hook.

Read the rest of this article from The Guardian.

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by John Yost.

In our last post Anna Rebek briefly touched on one very important aspect of sacrifice when it comes to making microbudget films…crew. I think we often have to get past the feeling of incredible guilt in pre-production when asking friends and family to come along on yet another microbudget adventure.

However, we learn to compensate with understanding, attention and compassion, making micro budget a unique testing ground for new methods. No matter what happens after these films are made, we are left with lessons that some big-budget filmmakers have never had to learn.

Perhaps instead of wondering when to give up, we should be taking this time learning how to prepare for the future. Layton Matthews is here to discuss the merits of treating your crew right…and while you’re at it, why not pay them something.

Read the rest of this article from Filmmaker Magazine.

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by Brett Johnson.

Far, far on the other side of the Hollywood spectrum from James Cameron and Steven Spielberg lies Charlatan Studios, a shoestring venture founded by a pair of 29-year-old Simi Valley High School graduates named Brian Harrison Mack and Douglas Lamore.

Mack and Lamore make independent, low-budget film shorts — about two dozen in all since officially forming Charlatan Studios in the summer of 2007.

Their latest offering, “Restructuring Michael Swift,” a satire on downsizing in corporate America, will screen Wednesday night at the Los Angeles Short Film Festival, better known as the L.A. Shorts Fest. That follows on the heels of its premiere last month at the Palm Springs International ShortFest.

Read the rest of this article from VCStar.

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by John Yost.

To me, microfilmmaking is not an end that anyone in his or her right mind should be pursuing. Of course, as people interested in filmmaking, we are not necessarily right in the mind. There are those — many of whom read or write for this column — who live and die by a microfilmmaking manifesto.

They hope that somehow, through their work, audiences will “see the light” and figure out that all is lost in Hollywood and at festivals, and that we must return to our roots by watching a shaky film about a character wrapped up in an über-personal struggle.

And, once audiences come around, a viable market will develop for that work. Even if that happens, the sheer volume of microfilms in existence ensures the fact that any revenue will be spread thin and you’ll still struggle to get seen.

Don’t get me wrong, people have had continued success as microfilmmakers, and I applaud their efforts and success. However, what you will find is that these people, conscious or not, were attached to some genre or movement which served as an automatic marketing device.

Like it or not, effective marketing — ie. Hype — is the only means by which they may eventually make a living doing what they love. In any industry, marketing also plays a role in the degree of revenue earned, but in film, it is the only means by which revenue is earned.

Read the rest of this article from Filmmaker Magazine.

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This article was written by Simon Pulman.

I’m going to assume for the purposes at this article that you have read Think Outside The Box Office, and are familiar with the principles presented within.  I don’t think an artist of any kind should proceed with a project without at least reading and considering Jon’s ideas.  We’re moving towards an age where personal branding and fan engagement will become increasingly important strategies in differentiating yourself from the crowd.

Read the rest of this article from Jon Reiss.

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This article was written for SoYouWanna.

“You’ve got a movie to make. You’re busy! So before we waste any of your time, let us tell you whether or not we can help you produce the next Brothers McMullen or Blair Witch Project. First, we’re assuming that you’ve written or obtained a screenplay. Secondly, we’re assuming that you will be able to procure (from parents, friends, credit cards, theft, etc.) at least $15,000. If you don’t have $15,000 or more . . . sorry, but miracle workers we’re not.”

Read the rest of this article from So You Wanna.

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This article was written by Jason Brubaker.

“If you’re a first time feature filmmaker, you do not need a gazillion dollars to join the feature club. But you will need to learn how to replace money with ginormous creatively. And once your screenplay is complete, then the next step in the filmmaking process is your initial breakdown and schedule.

Breaking down the script means you go through your screenplay, number each scene and highlight each element, including locations, characters, props, make up, wardrobe, picture vehicles and special FX…”

Read the rest of this article from Filmmaking Stuff.

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This article was written by DJ Bad Vegan.

“Choosing a lens (or multiple lenses) to use on your independent film or video project is essential to nailing the “look” of your project.

I’m not a professional DP (Director of Photography) and I don’t come out of the camera department, so I’m fairly ignorant (and in awe) of lens technical specs. But as a director, I’m drawn to the narrow focus and zoomability of a long lens (turns out, size does matter — with a lens). The long ones just look so much more cinematic than a stout wide lens to me.”

Read the rest of this article from DIY Sucks.

This article was written by Shane M. M. Boyd.

“If you are considering getting into the movie making business, it is crucial to understand that low budget film making is the best place to start. Even if you are considering Film College, consider making your own no budget film before you even begin. This article gives you 7 low budget film making tips to help you make your first no budget film.”

Read the rest of this article from Cactus News Online.