Vimeo Video School is a fun place for anyone to learn how to make better videos. Start by browsing our Vimeo Lessons, or find specific video tutorials created by other members.

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This article was written by Conor Friedersdorf.

“…at a time when film financing is facing increasing budgetary constraints, even the most powerful directors are harnessing the power of the web to attract investment (financial or artistic) for their latest projects.

Ridley Scott, the director of Robin Hood – which opened the Cannes Film Festival this year – is producing a film that asks people to upload videos of themselves on to YouTube, which will in turn, form the basis of a documentary to be premiered at the Sundance Film Festival.

A growing crop of websites offer anyone willing to donate money to film projects an “executive producer” credit at the end of the film. One example is the collective effort in fundraising for the big-budget Spanish film, The Cosmonaut, a sci-fi movie that used online crowd-funding methods.”

Read the rest of this article from Crowd Source Capital.

“On the day that brought us the first trailer for James Cameron’s Avatar, it’s only fitting that we throw up a video tribute to the films that have dazzled us with groundbreaking visual effects over the years.

This video (featured after the jump), titled Visual Effects: 100 Years of Inspiration, was originally intended to be used in a classroom as part of a lecture, and while it leaves off films like The Matrix, as well as anything from 2009, it does do a pretty good job of doling out some nostalgic flavor as we take a trip through time.”

Watch this video from Cinematical.

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Join this new community where we can share our knowledge of film and video I hope you like the idea of participating and collaborating to create this site where we can share our experiences.

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This article is from Expert Village.

“Break into the movie and television business, as a cameraman or aspiring celebrity starlet, with helpful tips and tools from Expert Village videos. Our How Tos give you advice from the silver screen to the small screen. Learn quickly how to be a film extra, market yourself as a serious actor or find out what roles best suit your talents. Prefer to be behind the camera? Become a producer or director. And understand the difference between union vs. non-union. Here is where you’ll find the show business ‘scoop’ to get you in the door fast. Continue reading here.

This article is from CartoonBrew.com

Jim Capobianco, Pixar story artist and director of the short Your Friend the Rat, is nearing the end of production on Leonardo, a personal short of his own. He’s been documenting the production on a production blog at leoanimation.blogspot.com. Last week Jim started a series of blog posts called ” 10 things I’ve learned in making a short film.” The advice in these posts is wonderfully informative and in-depth. Jim openly shares his experiences and offers case-specific examples in every blog entry. Moreover, his tips are applicable not just to short filmmakers but anybody involved in a creative endeavor. Read rest of article here.

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Want to Learn More About Film and Television Directing? Check out Peter D. Marshall’s multi-media reference guide for filmmakers, “The Art and Craft of the Director 10-Day Audio Seminar“ – a 162 page eBook packed full of insider film directing tips and tools supported by over 500 film making reference links, 26 mp3 audio files, 28 video links and 23 pdf special reports all designed to help you become a successful, working film and television director.
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“Historia de un letrero” is a short film about the power of words and was the Short Story Winner at the Cannes Festival, 2008.

Tronic recently created this new promotional film for 56 Leonard Street, a yet-to-be completed residential building in Manhattan designed by international rock stars of high-profile architecture, Herzog & de Meuron. It got me thinking about one of my favorite topics: the use of motion graphics and animation to convey a sense of space and poetry.

I’m not talking about architectural visualization. I’m talking about something more, a balance between realism and abstraction that creates a desire to be “there,” even when “there” doesn’t exist yet—especially when there doesn’t exist yet.

Tronic calls it architectural filmmaking. I like that. If you watch 56 Leonard Street and another, very different project they created for Daniel Libeskind, you’ll get a sense of what I’m talking about. The buildings are definitely the primary subjects of the films, but they’re presented in a way that invites the imaginative participation of the viewer. Read rest of article here.

Dan Glickman, Chairman and CEO of the Motion Picture Association, talks about Americas feel-good movie culture and why he feels it’s so successful in transcending borders. Glickman discusses the success of “Meet the Fockers” in India and the international appeal of “Walle.” Click here to watch video.

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