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 Rossiter Drake.

Gareth Edwards won’t reveal the budget for “Monsters,” his thriftily constructed feature debut about two young Americans trying to buy their way back from Mexico following an alien occupation.

Yet he’s quick to acknowledge that his acclaimed sci-fi fantasy might never have been possible without advances in filmmaking technology usually associated with big-budget blockbusters such as last year’s “Avatar.”

Read the rest of this article from San Francisco Examiner.

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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 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.

This article was written by Rob Springer.

“Low budget filmmaking is a process that can at times be arduous, but the pay-off is one of the most creative forms of fulfillment that can be achieved by a modern day storyteller. It is with this concept that we will cover some of the most basic steps of low budget filmmaking. Keeping these rules in mind will prove to be a savvy move.

Spend sometime and get to know your camera and its features before your shoot. Practice shooting simplistic scenarios. Familiarize yourself with the instruction manual, take nothing for granted. This could save you hours of critical time during low budget filmmaking projects.”

Read the rest of this article from Screenwriting Basics.

This article was written by D.A. Sebasstian.

“Recently I have seen alot of press about crowd-funding and alternative ways for film makers to generate funds to finance their film projects. I’m sorry- I but don’t get it. What do these people need all this money for? Can they make films with virtually “No Budget.” Yes indeed they can. In this modern age- the less you spend to make something the easier it is to turn a profit. This is obvious economics. If you have no initial investment to recoup then the first dollar you get from a DVD sale or VOD play is the first dollar in your pocket.”

Read the rest of this article from Go Kustom.

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