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Thanks for the comment, David. We agree the best thing about gaining public funding is actually having money to pay all the various expenses when making a film, including paying cast and crew. It just makes things so much easier. But as you said, sometimes chasing funding is a time-wasting endeavour as some films are simply not going to attract government support no matter what they do (and this an indictment of the quality of film or filmmaker). In that case, going out and doing it yourself is the best thing you can do as actually making a film, support or not, is a huge achievement and finding success without funding is definitely possible. Just a harder road. PS. Yeah, the side angle didn't work on this video. Just makes it more hassle to film too so don't think we will be repeating that setup.

Thank you. The opportunity came along through FilmHub and we took it. But we don't give up on our feature films, we are always looking for new platforms we can submit to and then see what happens -- like Reevel. Honestly, we are not sure about shorter titles, it would depend on the platform that is selecting it through Filmhub. We had Daughter, our 30min short narrative film on ShortsTV, which wasn't a good opportunity, this was not through Filmhub. Although Daughter is on FilmHub. There are hugely popular channels for shorts like Omeleto we have considered for our more popular 'festival' shorts, but I believe there is a cost to submit.

Thank you! Our features are close to finished now... Almost there. We appreciate you being here.

Thanks for the feedback and so glad you found it useful, there was a lot to cover as the department is so vast. This is SJ, btw. I too started by helping out on indie film sets and was self taught. Some further advice, don't let people take advantage of you in the indie film scene. Like you said, art department is often overlooked and undervalued, so the team usually has to fight for a costume fitting day or a directors attention to get an answer about a minute detail. and I agree, art department adds so much. It's not always like this, but people don't realize all the small parts that make up the art department machine. When its also low budget indies its one person is doing each role within the hierarchy, it's overwhelming. Anyway, I am glad that you found this course. If you have not already joined our monthly newsletter, we would love to have you as part of our community ... sign up through pour website in the description. Keep creating!

Thank you for the kind words, this helps us know we are on the right track with the channel. Have you watched part 2? The whole chat was very inspiring :) We hope to shoot and release some more videos soon, we have had a bit of work to do shooting and finishing our two latest features.

Well, welcome, we are glad you found us and hope you get a lot out of this channel.

Thank you and glad you agree!

Glad you think so! We filmmakers have to take all opportunities we have available to us in order to not just get our films seen and reach and service our target audience, but to also take hold of our distribution and get what we can financially from our films.

We are glad that this resonated with you. Keep building that body of work. It's so hard to get seen lately, but that is not the reason to make art. SJ

Good advice there at the end and we agree -- try it out for yourself, but the help is always there if you need it, filmmaking is a collaborative art at the end of the day. We also like those two improvised filmmakers. Our improvised filmmaking technique was developed by learning about the techniques of Mike Leigh and we are influenced by Joe Swanberg (who we work similarly too). If you want to go deeper, learn about the roots of improvised filmmaking and how we use it to make our feature films, the book Improv for Indie Filmmakers by my partner, director Ivan Malekin (SJ here) is available on Amazon. Link: www.amazon.com/Improv-Indie-Filmmakers-Ivan-Malekin-ebook/dp/B09KFSK6S4 and we talk a lot about it on our channel here too.

Yes, if you are going to have on location it has to be plausible, we agree. We also agree that the success of any shoot, aside from the cast and crew attitudes is a hell of a lot of planning. Things will go wrong but a schedule that allows for time and improvisation is key.

Hi Carol, first, happy new years and thanks for the support. Horror usually sells best, and we have heard dramas are harder to sell. We make improvised, non-scripted dramas, so we know that to be true. There is already a strong horror following, and that audience watch anything that falls within the genre. We find that cats and animal docos bring in some nice people and it's a supportive community. Docos are a different beast again.

This confirms my impression. Thank you!

@@carolfrome7801 You're welcome

You're welcome ! @@carolfrome7801

Barbara is a force and very talented! That short film, Goose & Gander served as a test idea, this year we took that idea and developed it further, filming a feature called After the Act with the same concept. You make an interesting and complex point about the locations and shooting the set for green-screen later on is very clever. We used to do a lot of green-screen back in the day, hiring studio spaces to get it done.

@@microbudgetmadness Barbara is living her life as much on her own terms as she can, without all the whining a lot her age does. And I love and applaud her for it. Well, I would like to get into making videos and short films. Turning 53 in a handful of months is a pretty late start, but I've always loved good stories and coming up with my own. The frustrating part is me never finishing them. It's why I hesitate to invest the money into trying to make them. But I have enjoyed learning about filmmaking and the growing trend in virtual production. Free tools 3D like unreal engine and blender seem like great options for creating "sets" once you learn the software, not that hard really. And if the background is going to be static, several shots of the same location from different times, angles and conditions, would make it infinitely reusable regardless of what's happening at the actual location. Turning a spare bedroom or outbuilding, if they're big enough, into a green screen room, seems to offer a lot of possibilities. From what I can tell, one of the biggest difficulties is getting the color grade and lighting match. Say if you don't use a 3D room, and you can get the owner of a bistro to remove a set of tables and chairs long enough to take some still shots, or b-roll for background, you never need to worry about how busy the place would be and interrupting their customers and general business. Set up, your on table and chairs in front of a green screen and have the editor composite them together. I know that adds up in the editing costs but you have unlimited usage of the background for no extra cost. Also, you can get decent freelancers digital modellers to create a decent 3D set pretty cheap, if you don't want to learn how yourself, again, they're infinitely reusable. Sure, you're limited by the green screen space but as long as you're careful with framing your shot, you can have the person be in Barcelona in the morning and Tokyo at night and film it all in the space of a couple hours, if not minutes. But you've been doing this for years and probably know a lot better than me, who hasn't even gotten the courage to start.

It's SJ here on the comments, @@nerored6235 -- I'm more into the marketing and traditional set builds, but I have heard of Blender, but not Studio Engine. You do seem to know more about it than me. We used to use the traditional green screen studio or a green cloth back when I started working on sets. I'll look into what you shared once I'm back at work for the year. I'm 42 and I started directing films at 32 years old, so it's never too late to start. That is the wonderful thing about being an artist -- you can start at 10, pause for 30 years and start again when your life is better suited to it. Finishing films is another thing. Ivan shot a film early on in his career, over 15 years ago now and he gave up on it then, but is not collecting the old tapes it was shot on and piecing it together. Filmmaking is a funny craft :)

If you have locations near a central hub, it is a good idea. Travelling an hour or two is a waste of time. People would be somewhat tired even before the shoot starts.

Let's hope so, and it might as people may be getting over streaming.

Late reply, but thanks for this comment. We try!

Thanks so much for this comment and all the best for the rest of the shoot. We too were inspired when we were interviewing Noam and are thrilled with how the interview panned out.

Yes, Allied Vaughn does all that for you. They did it for all of our DVD and Blu-rays and I'm pretty sure that is standard. How many copies sold varies. It depends on how much you market your film, the type of film, length and genre, your audience size, release date, cost, ect. Our latest doco Cats of Malta has a Blu-ray currently on pre-sale ( which started Nov 24th) -- November Report -- 4 DVD Units Sold, 6 BD Units Sold = $61.05 We have just started to market it this week through our newsletters and social media, so let's see what happens. The Blu-ray sits at #11 on Amazons Hot New Releases as of today.

@@microbudgetmadness Great, thanks a lot of the info!

@@killedbythemusic you are welcome.

It seems like a good idea to use flash drives and yes, we have seen a guy posting he does this in one of the filmmaking groups. Maybe someone can test the theory and sell both formats from their website to see which is more in demand.

Maybe it is the way of the future once DVD's go out of fashion if they ever do. Macs don't have DVD options, so we have stopped watching stuff on DVD ourselves, but we are still very old school when i t comes to books. Thanks for watching. New video coming soon, been busy making films.

We disagree with you there, the sound is fine. But thanks for your comment.

Hey, thanks for your comment. We have waited from 2 weeks to two months for our films to go live on FH. It depends, some took longer and you can't predict it.

@@microbudgetmadness well how long did it take for them to get it accepted to tubi?

@@ryangivins Hey I read your first comment wrong and I answered as if you meant how long did it take to get onto Film Hub. But in both cases it also depends and not all titles will get accepted onto Tubi -- we have had two films not accepted for Tubi, a short and a feature. Film Hub puts the films you submit to them forward to the platforms, including TUBI, and then it's upto the channels/platforms to select which films they want for their platform/cahnnels. You can find FilmHub FAQ here: help.filmhub.com/ or you can read about our experiences with FilmHub in general here: www.nexusproductiongroup.com/blog/2023/5/26/indie-film-distribution-why-we-use-filmhub I hope this helps. Like all filmmakers we are also learning as we go and experimenting with the process of self distribution. Also on FB you will find a group called Distribution and Marketing for Filmamakers as lot of filmmakers in the group discuss Filmhub and Tubi facebook.com/groups/858345391005501

Welcome ! We have more videos on crazy filmmaking ideas soon...

Cool, waiting for it. 👍

@@makemovieordie2154 So much to do ... but we will get there.

Yes, it's really cool. We love it too. Thanks for watching.

Thanks, and it's not too late to use some of our tips in your next one though! Mix it in with your experience gained from making the first one. We will check out your channel too.

Very funny about the shirts, good observation ... glad you enjoyed the video, we really like this one too. Hope it was helpful in some way.

Thank you. We will be posting more soon, just busy making films right now in Berlin :)

@@microbudgetmadness radness.

No problem! We truly believe that Filmhub can benefit some films and recommend giving it a shot instead of seeking traditional distribution.

HEY

Hey

Thank you, we are glad you are enjoying the videos. This is a very inspirational interview. Have you watched part 1? Also, we have a newsletter on our website that may be of interest to you -- nexusproductiongroup.com/subscribe

Thank you

Thank you, hope you found it useful and inspiring. Don't forget to check out part 2, Noam shares more wisdom.

Thank you Taffy, I hope you found it useful and inspiring. Don't forget to check out part 2, Noam shares more wisdom from his filmmaking experiences.

Understandable. We don't have a hard rule like that but getting rejected certainly makes us think twice about entering that festival again. More often than not, we don't.

Wow, Joe, what an experience. We believe that festivals are not the be all or end all of a film. Some filmmakers we are in a doco distribution group with have actually deliberately not submitted as they would rather make money from selling their film through community screenings and virtual events. Being in Europe we can't attend US festivals (we did last year as we made the trip to Ohio and NY as we had our film (at different lengths play) and one of the festivals put us up in accommodation and had a lot of networking opportunities. Everyone was welcoming and lovely, but he have not stayed in touch, maybe because we can't make film together from across the globe. There is this mentality that all films need to go to Hollywood and be seen to make the filmmakers successful. Success is what you make it and how you perceive it -- make $1000 a month from our catalog is our first goal, that way we can pay ourselves and keep making films. We sold our film to a festival that got in touch with us about screening it, and in total it has has 6 festival screenings, and not major ones besides the one that paid us and the one that hosted us. I like this: "contestants schmooze with random people who had obscure connections to someone who had another frail connection with someone else in Hollywood." We are still believing that Hollywood is gonna make or break our careers is what a lot of filmmakers still believe. It's misguided. When we ran a festival, one filmmaker who entered told us he spent over a grand submitting and he would take it really personally when rejection came, but was quick to flaunt his wins, which came from small festivals in small villages which no one would have heard about.

Hi Nate, thanks for the comment and for sharing those stats! It's great that you enjoy the process. Do you set a festival budget for each film and go for 1st, 2nd or 3rd tier festivals first?

@@microbudgetmadness I have a tiered festival approach specifically for my religious claymation films, but horror and sci-fi (live action) micro-shorts have a more shotgun approach targeting genre-specific fests sorted per early bird submission deadlines.

@@natecarrollfilms Interesting approach. Thanks for sharing and all the best with your filmmaking...and festivals

Thanks so much. Glad it helped you in some way.

Thanks so much for watching, Vanessa. Check out all the links in the description. Our films cam be found on our website too - nexusproductiongroup.com

sir how can we get some fund for making a shortfilm under 25min duration , with a minimal location .? how can we plan to cut some budget .?

@@harikrishnanu1451 crowdfunding is likely the most accessible method for filmmakers to raise some money. As for cutting the budget, you can write scripts and scenes that are easier to film with less money, such as minimal characters and locations and also use minimal crew. Good luck.

Hi @@harikrishnanu1451 You may want to check out our courses on Udemy www.nexusproductiongroup.com/education -- Ask for favours and self fund, and also work with a story that limits your locations. We also have videos on this

I think festivals have lost their luster in the last decade, but if you are making art films, as in personal and hard to categorize, you must still try to attend. As your experience with the Israeli distributor shows, it's not the screening itself, but the contacts you make. This is especially true for the big festivals. In my most recent experiences, it is perhaps better to target the international film festivals rather than the domestic ones, especially if you have an angle for that specific area in the context of your film. This leads to opportunities in emerging markets that may take you on some interesting journeys. You guys are giving young filmmakers sound advice. My experiences since 2001 are coming from a different angle but it's all about getting your vision out there. I subscribed, come check me out, would love to collab.

@@alincolnlim We both thank you for this thoughtful, experience driven response. It's SJ here. We used to target international film festivals for shorts, and we still do for some our docos and the feature films, even the ones were are personally passionate about the subject. After being disillusioned and burned, as you said, 'festivals have lost their luster in the last decade', this year, we started to try festivals again. But only for certain films. This is because we have our latest short film Roniti, which is a 15 min Croatian language film, shot in Zadar, Croatia, and we did the opposite, targeting regional and Balkan festivals. For us this was a way to get our company noticed within our region, thus growing our reach, making a name for ourselves or at least getting people familiar with us being local filmmakers. They are also festivals that we can attend, so we can network. We don't have a network in Croatia so this was our way of 'getting in'. Plus we noticed that there is a group of festivals that if you get into them you can qualify for the European Film Awards, which is a valid reason to give it a shot. Let's see how our experiment goes. Thanks for your comment. We will check your stuff out for sure. Thanks for subscribing. The support means a lot.

@@microbudgetmadness I didn't know that about the European Film Festivals. It sounds like you're on the right path. I never paid attention to marketing for sales, mainly because my films are Asian American content, and the pickings are slim. I'm just finishing the festival run for my documentary, and I'm just going to release it here on RUclips when there seems to be interest. All my focus is here now, to help out those who ask, and to keep creating. See you around.