While I do love this, what happens if you really have nothing to work from, beyond a great idea? No cell phone camera, no sticks, nothing? How do you go on to make a "no-budget" film? Creativity requires collaboration. It requires giving to the project. And it requires having and making friends who are also interested in your project becoming a reality. Don't think for a moment that you have to have everything. Let your friends in on it! You might actually discover something that works, and then everyone involved grows with you. Just my 2 cents. Hope it helps someone.
You guys paid your dues just like the rest of us..... never apologize for being able to use good gear now because others cant.... you have earned the trust of companies and made connections over your careers...I never understood people wanting u to stay a no budget filmmaker simply because they are.
At that level it's really a question of whether it'll be harder to get high production value on the front end (low budget) or harder to make profit on the back end (high budget).
I support this message! Ryan and the rest of the Film Riot & Triune crew have taught us so much through the years with honesty, integrity, and humor to boot. Huge thumbs up!
When he said the term "micro budget" my brain was like- "Uh, so that'll be like, up to $250 right?" and then he said $100,000 and my brain imploded... ...and they all lived happily ever after, the end.
Thing is if you're going to pay people, feed them, hire anything, pay for a venue (or even pay the venue to put the lights on) then $250 will get you no where.
@@joshtheintrovert7928 😁 nowhere yet. It'll be at least the end of the summer for post. Hopefully it will be seen on a few channels that are sci-fi focused.
Hey Ryan, I'm really happy that you used some of my shots (super 8 projector) in this video . It's a real honor for me because you teach me so many thing during the last years. Thank you for everything !
I see a lot of people say, "I miss the old Film Riot" in comments. While it is true, I too sometimes feel this way, but I'm not bitter about it. I miss certain aspects of things like school or even when my dog was a puppy. It's the same thing here. I can be nostalgic and miss the things of the past, but I also am grateful I'm not there anymore and have grown. All this to say, I miss the old Film Riot because I'm nostalgic, but I'm also super excited to see where Film Riot goes and grows.
I love this way of thinking. It lines up with us as well. We miss how it used to be in the past for the same reason. But we are different, so the show changes with us. Otherwise we would be trying to be something instead of just being ourselves.
I love seeing how far they have grown and can give us insights into the bigger projects now with their knowledge of their audience being new filmmakers or even professionals trying to always learn. It helps me A LOT with how Film Riot is now because I was lucky to grow with them
Hey Ryan & everybody at Film Riot: 10 years ago, I found out my camera had a movie mode by stumbling over you channel. Fast forward to now: I'm working with video full time and I couldn't be happier. Your statement about "being a new kind of film school" really resonated with me and I just wanted to say thank you for continuing to share your journey and being entertaining and inspiring in doing so.
"Using an Alexa to shoot your film is not gonna make it better. It might make it easier to make it look prettier, but it's not gonna make the film better." Well said sir!
I've followed your career since before the pms horror movie, I've always agreed with your opinion and I'm proud of everything you've done Ryan. Specially how resourceful you are when the budget is tight, I'm so happy that you get to have bigger budgets to realize your vision. And I always look forward to what you'll do next.
My bro and I just produced and directed a "no-budget" UK feature film, COSMOS, for $8,000 (self-funded) that was bought by a global entertainment distributor, had a Hollywood premiere, a limited US theatrical release and is available on Worldwide VOD. So it's very possible for indie filmmakers without financial backing or industry contacts to make features that will find paying audiences. Ryan, you RT'd our 'making of' trailer a few months back on twitter, we'd love the opportunity to chat with you more about what we learnt and what we'd love to share with the filmmaking community about making a no-budget debut feature. Thanks as always for all your stellar content and inspiring. Cheers, Elliot
I started watching Film Riot when I only had a Mini dv camera...flash forward 10 years. What used to be a PVC shoulder rig is now a full cage rig, what used to be a 60min tape is a 1Tb SSD and what used to be 720p is 4k. Time changes! Must of us here grew up with Ryan and his family both in age and experience. That is why we all sympathize and enjoy the channel. However, I believe must of the negative comments and confusion comes from new subscribers, new filmmakers and hobbyist. They need to chill and binge watch filmmriot from the start. In another note, thanks for this episode and keeping the show alive for all of us. Look forward to the next episode.
Thanks man. Definitely a good observation, that’s my assumption too, which is why I thought this episode might be helpful. We just try to be as open as we can as often as we can. Thanks for being a part of the community for all these year! Means a lot.
I always say we don’t have a budget, just to feel more humble, but in reality who knows how much I spend on gas, props, gear over the course of time, whether or not it is centric for just one film purpose. Being a young indie filmmaker is definitely a interesting grey area regarding budgets.
Hey Ryan & the Film Riot Team, great video. One thing you could add is, since Luc Besson was able to independently foreign pre-sell Valerian as a $180 million indie movie, you could technically include high budget in your breakdown....Then again, considering it flopped maybe it's best not to get indie filmmakers hopes up with that.
Really appreciate the transparency of this episode. You didn't have to provide an answer for the naysayers and the haters. Those people are always going to be bitter, because they see you succeeding while they still can't figure out why they are not. However, everyone that actually watches you guys to learn should come away with a lot from this episode.
I can relate to this because I shot my short film with a A7S2 and 3 batteries. Anything is possible but you need stop letting budgets define your shoot! Love you guys man!
Sai Ashwin no. Got mine used off Kijiji for 1600.00. Could have done it with my a6300. It’s not the gear it’s the person behind it! If I was worried about cost all the time I would have never even attempted the short film. It’s not just about resources but how resourceful you can be! I used friends as actors, who also were cosplayers so they helped a lot with the costume. My sound guy flaked on me so we had to do all the audio in studio. We had only two days to shoot with a 5 hour period. I drove a total of 17 hours both days in a row to pick up and drop off all the actors! The weather changed and we ended up having to revise and shoot in non chronological order. I forgot a charger in Ottawa and had to drive back from Montreal to get it and got no sleep! Charged back up the batteries and went on no sleep! Sometimes the biggest challenges lead to the best results. I’m no different then you man you just got to believe in your vision as much as I did!
Not sure what we would be parroting, or why you seem to be upset. We’ve talked about where we get the money several times on the show. It comes from parts like Canon, Adobe, and my own money. I’ve also never made money on any short film, I’ve only lost money. Because it’s not about the money. A feature would be a very different thing, that would have to make money. But shorts don’t really have a money making model to them. They are investments in yourself and your cast/crew in hope yo grow into bigger things. Hope that helps.
@@filmriot Thank you for the answer, which is completely legitimate to me. I hope my question didn't come across as an attack. It was made out of genuine curiosity. Also, thanks for the Darker Colors recommendation. I really enjoyed it.
@Christopher you didn’t come off attacking at all. My “upset” comment was for the other post. Your question was a good one. Thinking about doing an episode to dive in more. Thanks!
@@filmriot Ryan you did what you did and you deserve all budget you want. And you deserved the $120k+ on ballistic... And again you deserve to get your "there comes a knocking" made on bigger budget hollywood level. Good bless you
@@filmriot That would be fantastic. It's an interesting subject, not just in where do you go, what do you prepare, who, and how do you ask but what does it mean for the integrity of your film. I'll never forget the scene in Ed Wood where his investor says, "I want the film to end with a big explosion." and then proceeds to insist that his nephew be cast as the lead. I could go on.
Man, I've been watching you guys for at least a decade now, and it's so enlightening to see your productions scale up with the experience and resources and connections you have made over the years... that takes a lot of time and effort so huge props for that! And I completely relate to the thing about having bigger budgets feeling even more constrained than having pretty much no budget or micro budgets, but we've managed to squeak by due to a lot of problem solving.
I think the strongest lesson I took from this was that even at the higher level you guys are operating on - favors, network, and trust is paramount. It serves both as a warning to those who maybe aren't ready for that level of commitment to passion projects, but also as a reassurance that it can still be done as people progress in their career!
There are no other channels that come to mind that show you how much a filmmaker grows year after year. Don't ever feel the need to apologize for that; your journey and evolution are what remind me that good things come to those who put in the elbow grease.
I love how you made your films through networking and sharing a passion with people. I also love how you don't take any of the negative/cynical comments personal, and STILL try to encourage other filmmakers. Limits spark ingenuity, and I love how you shared alternatives to getting a "dolly shot." It should be common sense for us, but sometimes we focus on what we don't have, and we forget to use what we do have to do something even better! Cheers!
When I'm shooting run-n-gun on something, I'll wear long sleeves and slide my forearms across a smooth surface for a dolly shot, if I don't have time to set up my slider. BTW, you guys are a huge inspiration to me. You started Film Riot the same year I started film school. That teleporting spider shot really hit me in the nostalgia. Thanks for all you do!
I've been watching you guys for 10 years. While I've worked on many other people's projects over the years, I'm about to direct my first serious short film in May and you've been a huge inspiration!
Thank you for this! I appreciate everything that Film Riot has done for me. You guys are the reason I’m going into film. Tomorrow I’m shooting a short comedy scene with a budget of $20 and I’m so excited for it. I’m 21 and I’ve watched you guys since I was 14. Thank you for being candid and generous with your knowledge and experience. I only wish the best for you and your team.
A good companion piece to this would be more on how filmmakers fund short films beyond the no-budget or microbudget level. How do you raise $20k for Ghost House or $100k for Ballistic or $??? for Seth Worley's Darker Colors when shorts don't offer a return for investors to be involved? Without Film Riot and great relationships with companies thru that avenue, how do other filmmakers usually fund their shorts? I think a lot of people that view this channel, like me, probably have no idea how to go beyond a no-budget short other than just out of pocket, and while some people get their start with no-budget shorts like David Sandberg's Lights Out, knowing how to fund shorts in the $5k+ range can be a huge help to getting projects off the ground and getting yourself out there, so this would be so very enlightening. Thanks!
I love when you started getting into the short film stuff, super helpful! Great video such a unique topic to cover that gives filmmakers like me a realistic perspective on budget! Thanks Ryan ❤️
I love this episode. Hope that you guys continue to do more budgeting and logistics based stuff. I feel like there are still many principles of filmmaking that creatives don't get in that space.
Noted.❤✌ Well i think Ryan was talking to me here.I've done that mistake for so long. Thank u for yet another video. Keep on teaching us the great stuff✊
Right on the money!!! No pun intended!!! I've been working this craft for 35 years and I could not agree with you more. The only caveat is, we many times get what we pay for. Usually the case when bringing on the circle of friends and family that don't know crap about the craft. All the passion in the world can't make Johnny Well-Intended proficient On-The-Day. This is a craft that requires the pro or 2 for the job. If you want to make the day, that is. There comes a point where hiring the pro for a particular department is actually the cheaper, safer way to go! All part of the budget process!
Amazing to hear how many people worked for the passion of the projects, for free. I will let go of the guilt I have from thinking I HAVE to pay my friends for a passion project. Let's all scratch each other's backs in the beginning, and one day all the working for free will pay off.
Great video once again. The comments about people focusing on equipment really hit home when I made my first (pretty much) zero budget film. All I had was so many negative comments from people saying I had to shoot on Red cameras etc etc. I knew I had no money so I wrote the film to match that. Focused on what I could achieve not on what others thought I should achieve. Yes the film didn't look or sound that good, but for £1500 what can one expect. What we lost in looks & sound we made up for in story, characters, pacing, structure and passion.... and all that will always be more important to me than whether a film is 4K with DTS sound.
guys, I never get tired of saying thank you, your comments and work experiences encourage us all to keep going, just like you, movie magic show on discovery inspired me too, maybe I have procrastinated my way to success, for fears that I think you help me overcome
I worked as an art p.a on a 100k movie. And the cinematographer was using practical tricks like a cart basket with dolly grip. No jibs or doorway Dollies or JL fisher. A regular basket cart like they use for cabbie drivers running fare in 3rd world countries. And every scene was just speed rail on apple boxes with Dana dolley. Some speed rail on 6 step ladders. I learned a lot as I want to be in the 600 one day.
I've enjoyed watching your journey these past ten years. Whether you use DIY gear or expensive gear - it's all fun. Still, I think when talking budgets, it would be helpful to share two budgets: your actual budget - which is usually lower for you because you have friends and business relationships that help you save costs (and that's a good thing) and the no discount budget - what it would have cost if you had to buy/rent/hire everything/everyone at standard prices. Having said all that, my favorite Film Riot film of all time is still Teleportation Tourettes - so funny!
Im glad you talked about where A LOT of the money goes to outside of crew. I'm now starting to produce some "large" short film and starting to see money used mainly on things like you said (catering, gas, hotels if needed, locations, small items here and there, etc). Some people do not know that when going in to making a short and always go "wow it really cost over 5,000 to make that? I thought everyone worked for free?" without thinking about those other costs. Locations for me always seem to cost the most. Some people, like yourself and even myself, are extremely lucky to be able to get big gear for free or through friends with connections (aka working at rental houses). That plays a huge factor too On the 100K for Ballistic where did a lot of the funding come from? I assume the sponsors provided some, but the rest? I really am interested in learning how to get funding for above $5k-$10k. I've done a lot of crowd funding/help from family/my own credit cards (Not fun lol). A video about reaching out to investors/sponsors would be really cool for someone like me trying to help my productions acquire more funds to maybe get better locations/pay people.
Film Riot is THE film school for indie film making. i learned more from watching your videos over the last 4 years than anything i did before and that includes tv work back in th early 90's. Film Riot, D4 Darius and IFH are the places to go and learn. THANKS FOR EVERYTHING PAST PRESENT AND FUTURE. And the oscar goes to....RYAN CONNOLLY! [thats a prediction you can hold me to]
Now that you've gone over budgets, I'd love to see you do one on various ways to get said funding (and how each success funds the next). Of course, if you've already done that, I'm sure one of the awesome peeps here will prove their awesomeness by sharing a link! 'Cause, you know, there's awesome people here. And you're awesome. Awesome! :D Seriously though, thanks for this. Really helps to put things into perspective!
I came late to the channel...about a year ago, but I really love what you and your team put together. You guyz are amazing! Thank thank for sharing your skills, technique and knowledge. I am motivated every time I watch a video from your channel.
Most enjoyable to hear so much good sense, expressed so pleasantly in 14 minutes. My dharma is writing, but the principles expressed here apply also in my work as a "utility photographer" for a small school, community, and sangha. I need just enough decent gear that it doesn't get too much in the way. For me, that's a workaday Canon 6D body with two exceptional lenses. Like good running shoes, the gear is a comfy fit and tends to disappear while I'm working. Film is oh so tempting, but I've tended to fall off a cliff when I've leaned in that direction; shoved over by cosmic destiny.
I made four episodes of my show Wight Space using a single DSLR and help from a lot of great people. I did the vfx myself. In all I spent less than $500, and while I was limited on what I could do, and wish I could have realized my vision better with a real budget, I'm proud of how we pulled it off on so little resources.
Soon as someone starts asking what gear you used they're immediately looking for an excuse why your film was better than theirs. It's sadly a comparison trap that exist in society nowadays. Even in my local film community one of our better DPs gets the "yeah but he uses a...." comment often, he then made a killer short film using a smartphone. Should have heard the excuses then. Ya'll rock and I love that you're sharing this information. I've spent more on film festival fees than I have on film productions....it's an expensive hobby!
I feel like this is a really important video. I think there's been quite a lot of misconceptions regarding budget, since these "epic B-roll" channels started growing.
I wanted to know the budget for “here comes a knocking” the most and it was the one that was skipped over lol! Good info tho Ryan. Always be creating 💪🏼
at my college there is a photo journalism school and I was talking to one of the students as she flew her macaw around the courtyard and photography and film students were all filming her bird with dslrs but failed to take into account where the sun was so my Samsung j3 got better videos of the bird then the film students. lighting is lighting and filming into the sun makes a colorful bird look like a raven every time.
I was just watching and thinking about how much I want a Film Riot t-shirt... it's fantastic! Been following this channel religiously since I found out about it in 2009 or is it 2010, and I'm so proud of the growth you guys have had, watching all of you grow (Josh) on RUclips, it's crazy... I'm watching all the way from Nairobi, Kenya... and trust me, filmmaking here is a gazillion times harder, but we manage, lol. Ryan, a huge favour... I'd love to know how to film a huge coverage sequence, like a family at a dinner table... or a banquet table at medieval times. I want to know the nitty gritty's of the wides, the close ups and reaction shots. How do you sucessfully shoot an interesting dinner table scene.... That's all folks. I'm proud of you guys... hope you land a Hollywood gig soonest.
I've followed you, Ryan, since the dawn of Film Riot. :) There's rarely a video I haven't watched. I've always made the mistakes you're talking about. I've always tried to finance my things and since in my country it's extra hard - they've all (with minor exceptions) stayed on paper. Thing is, you can't have a connection and/or friends with Canon, Alexa, a studio or anybody really if you're not living in a major country.
Honest question: why did you choose to make ballistic for 120k, instead of shooting a non-genre feature (drama or comedy) for that very same amount of money? In Europe, people shoot extremely low budget features for that much money, then you see those films getting recognition at a couple of major film festivals (Berlin, Cannes, Venice) or even smaller ones (Turin, San Sebastian, London, Rome, Locarno), and that jump-starts the filmmaker's career. I'm thinking of a lot of european filmmakers who might not be popular across the ocean, but this could also applies to the careers of peeps like Noah Baumbach or Sean Baker, or films like Blair Witch Project. I mean, what are the pros of shooting a High budget short film instead of a micro budget feature? Because, you know, short films are extremely hard to market and to get people to see them, while with a feature this is way easier (also, if I were a studio exec, I'll be more impressed to see a young director who has pulled of a feature-lenght film or documentary, rather than see one that has made primarly short films).
Ill answer for them. Their goal is obviously to reach the point where the produce high budget Hollywood films. To do that you need to gain experience in working with and managing high cost equipment and set. Before any top studio will green-light any relatively high budget project they will of course need proof that production staff is capably of efficiently working with and managing high budget sets, producing "good" films with increasingly higher budgets will act as said proof. No studio will hand over tons of cash to a team that cant manage it efficiently.
Also worth keeping in mind: Blair Witch was bought in the late 90s and completely redone for another $200k, with new sound design and a few scenes reshot and re-edited. Sean Baker had made Starlet (which was Hollywood low budget) before he made Tangerine (and he turned down another Hollywood-style low budget film to do it). Noah Baumbach not only came from money but started his career with Kicking and Screaming at the tail end of that early 90s boom that allowed guys like Soderberg and Tarantino through. On top of that, debuting at someplace like Berlin requires having a producer with a network to get you in there. You're not just going to shoot a no-budget feature, submit it online and get in. Trust me: I spent years trying to break into those and not getting anywhere. Make what you want to make. Those big successes are extremely rare and came about in specific circumstances. Features are made and never seen by anyone CONSTANTLY now. Constantly, and in every single possible genre you can imagine, not just action or drama or comedy or horror but everything. And they're often pretty damn good, too. I cannot overstate how many indie features are being put out right now, because just from my end of the world and from my own networking I started losing track, but it's definitely more than anyone can see in a lifetime. Make what you want to make. If that opens doors, all the better, but make what you want to make now.
@@sleepingdogpro and Docraki Hey, thanks for the answer! Yeah, I think that being in Europe I'm too used to our production model, which is completely different from the US. Here the producer's network doesn't have to go hand in hand with the budget he can assemble, rather than the prestige it holds towards the festivals and the "film community": if you go to Cannes being, I don't know, Pedro Almodovar's protégé, you are gonna get a better chance than Mr Nobody, but I can assure you that Almodovar isn't gonna make a 100 million dollar film (or even a 50 million one, heck, I'd be surprised if Dolor y Gloria exceeded 10) anytime soon. It's just a different industry with different figures. And here in Europe if you want to make "the big stuff" you have to go through those festivals, much like in the US you have to go through Hollywood. Anyway I'm shifting away from the movies that come out from Hollywood, and I find myself exploring more and more the movies made here in the old continent. I think that's where I'm heading to right now, so that's probably why it didn't make much sense to me to make a short rather than a feature.
@@francisjirons I could definitely see what you're saying and festivals tend to do very little over here for sure (even getting in the tier one fests means you have to be in before you even shoot your film). It's exhausting over here in the US - literally the first conversation about getting a feature made, before anything else, is about how much money your film might make back, and the majority of conversations you ever have about a film when you're making it (at least a traditionally budgeted one) relate to money and nothing else. I dropped back to zero-budget stuff because I was tired of the constant go-round between funders and crew/cast/sets/etc. Costs balloon everywhere really quickly and no one is happy with what you're paying them. There was never time to actually enjoy the craft. At least with no-budget, the people who are there show up because they love the idea of it if nothing else.
The point I was trying to make is that it’s all pointless to classify. It’s so relative to where you are at. What’s low budget to you is massive budget to someone else. That’s why we made this, I was hoping to show that thinking too much about budget is as useless as being overly concerned about the specific camera used. All that matters is that you are telling your stories. :)
@@filmriot Yea I saw that was more evident as the video went on! You have really inspired and challenged my way of film making since the very beginning of Film Riot (since the Florida days). Hopefully one day our paths will cross in the industry world!
Exactly. I got 2 actors that aren't even actors. I got an old camera and a great idea. If you got 2 actors that can't act, what do you do? You don't show their faces and you don't hear 'em talk! Currently working on local film-fest nominations and we got high hopes about it! Thanks for everything!
This is great. I have found the best asset ... are the people. When your network believes in each other. And crew comes to a great understanding of what they put on the table for whatever the budget it is, really can make any project just look great through the passion. We all want that beyond the low-budget life ... but we all also love the passion to create and be able to make something within a budget that makes us even more creative, not just for the look but for how to rig up stuff for the look. Am I right? :)
Movie Magic! I have so many VHS tapes with that show on them. There was an episode with Tom Savini showing how to use a condom for gunshot blood splatters so I used one with a black cat to explode it on my chest. I went def for a week but the shot look great! All that matters! Great video!
I remember making movies with a VHS camera and editing with a VHS player as a kid. Awesome fun. Then I discovered video editing on a computer. Mind blown! Thanks for the video. Great content.
Background music reminds me of the 'smoking' scene in The Breakfast Club. With you asking for water, the only thing missing would be making those spectacles dark.
It's been fascinating to watch your channel and abilities change down through the years. If you were still doing it the way you started it wouldn't be very interesting! Even in your first opening you said "Let's figure it out" and now you are still figuring it out at a much higher level. Keep it up! I've learned so much...
Every time I see you guys’ BTS, I mostly see equipment I don’t have but I do understand that the story is what matters most. To those complaining “filmmakers” - you can have all the equipment in the world, but if your story sucks...IT! JUST! SUCKS! No one will care what it was shot on...hell, the original Blackmagic Pocket still looks beautiful and very cinematic.
Fantastic and hugely inspiring. As are many of your videos. Iv learned so much watching them. I love the comedy in them too. Laughed so much this past week. Ever done one on how to save a project and turn it around with the footage you have only as you are unable to reshoot and footage is poorly shot and still not all that good when in the edit stage. Feels like a home video from the VHS days. Keep up the good work.
Just for example: We've shot an independent feature film (77 minutes) in Shanghai, China just for 130k USD. Most of the money were paid just for the equipement and locations. As you've said in the video it really depends on where you shoot the video, what genre it is (comedy/drama in our case) and if you have enough people willing to help you for lower or no pay.
And on top of that I'm a martial artist and in this stage and age martial arts shorts on RUclips isn't really advertised as much as other forms of media, not mention the fact I live in forest Park, ga, and here there aren't that many artist in the area.
Like I’ve always said:”a lack of resources requires a surplus of creativity.”
Love that!
And Also an ungodly amount of time, great luck (I have twice almost wrecked my camera by dropping it) and infinite retakes...
facts
A most clueful comment! Cheers to you.
While I do love this, what happens if you really have nothing to work from, beyond a great idea? No cell phone camera, no sticks, nothing? How do you go on to make a "no-budget" film?
Creativity requires collaboration. It requires giving to the project. And it requires having and making friends who are also interested in your project becoming a reality. Don't think for a moment that you have to have everything. Let your friends in on it! You might actually discover something that works, and then everyone involved grows with you.
Just my 2 cents. Hope it helps someone.
You guys paid your dues just like the rest of us..... never apologize for being able to use good gear now because others cant.... you have earned the trust of companies and made connections over your careers...I never understood people wanting u to stay a no budget filmmaker simply because they are.
Thank you! *internet hug* or *internet friendly handshake*... whichever you prefer.
💯Yeah man. And they have been doing it for sooo many years (13years if im correct)
LunaScope Film School Couldn’t have said it better myself! :)
At that level it's really a question of whether it'll be harder to get high production value on the front end (low budget) or harder to make profit on the back end (high budget).
I support this message! Ryan and the rest of the Film Riot & Triune crew have taught us so much through the years with honesty, integrity, and humor to boot. Huge thumbs up!
Remember you promoted Netflix before it was a huge thing... you’re a trend setter
When he said the term "micro budget" my brain was like-
"Uh, so that'll be like, up to $250 right?"
and then he said $100,000 and my brain imploded...
...and they all lived happily ever after, the end.
Same here, I'm working on a no budget short I guess because I've only put in $10k so far.
@@starpilotalliance That's a good chunk though! Where can I watch it?
all i could think about when he said micro budget was people going around the set searching for microaggressions xD
Thing is if you're going to pay people, feed them, hire anything, pay for a venue (or even pay the venue to put the lights on) then $250 will get you no where.
@@joshtheintrovert7928 😁 nowhere yet. It'll be at least the end of the summer for post. Hopefully it will be seen on a few channels that are sci-fi focused.
Hey Ryan, I'm really happy that you used some of my shots (super 8 projector) in this video . It's a real honor for me because you teach me so many thing during the last years. Thank you for everything !
Dude! Your shots are amazing. I was drooling all over them on Artgrid. Excellent work!
@@filmriot Thank you, coming from you nothing could make me more happy tonight :) !
I see a lot of people say, "I miss the old Film Riot" in comments. While it is true, I too sometimes feel this way, but I'm not bitter about it. I miss certain aspects of things like school or even when my dog was a puppy. It's the same thing here. I can be nostalgic and miss the things of the past, but I also am grateful I'm not there anymore and have grown. All this to say, I miss the old Film Riot because I'm nostalgic, but I'm also super excited to see where Film Riot goes and grows.
I love this way of thinking. It lines up with us as well. We miss how it used to be in the past for the same reason. But we are different, so the show changes with us. Otherwise we would be trying to be something instead of just being ourselves.
I love seeing how far they have grown and can give us insights into the bigger projects now with their knowledge of their audience being new filmmakers or even professionals trying to always learn. It helps me A LOT with how Film Riot is now because I was lucky to grow with them
Hey Ryan & everybody at Film Riot: 10 years ago, I found out my camera had a movie mode by stumbling over you channel. Fast forward to now: I'm working with video full time and I couldn't be happier. Your statement about "being a new kind of film school" really resonated with me and I just wanted to say thank you for continuing to share your journey and being entertaining and inspiring in doing so.
That’s amazing man! Congrats on your success!
"Using an Alexa to shoot your film is not gonna make it better. It might make it easier to make it look prettier, but it's not gonna make the film better." Well said sir!
I've followed your career since before the pms horror movie, I've always agreed with your opinion and I'm proud of everything you've done Ryan. Specially how resourceful you are when the budget is tight, I'm so happy that you get to have bigger budgets to realize your vision. And I always look forward to what you'll do next.
Thanks man! Really appreciate the support! 🙌🏻
My dolly strategy has always been putting socks on the tripod legs lol
Love that! Haha
how you wearing 3 socks? ;)
I have a 10$ eBay Tripod, wich I paid for with a voucher I got for free for signing up.🤣
We used a skateboard. Mostly for tracking
@@sloppynyusziwould have to, if I had one...
My bro and I just produced and directed a "no-budget" UK feature film, COSMOS, for $8,000 (self-funded) that was bought by a global entertainment distributor, had a Hollywood premiere, a limited US theatrical release and is available on Worldwide VOD. So it's very possible for indie filmmakers without financial backing or industry contacts to make features that will find paying audiences. Ryan, you RT'd our 'making of' trailer a few months back on twitter, we'd love the opportunity to chat with you more about what we learnt and what we'd love to share with the filmmaking community about making a no-budget debut feature. Thanks as always for all your stellar content and inspiring. Cheers, Elliot
I started watching Film Riot when I only had a Mini dv camera...flash forward 10 years. What used to be a PVC shoulder rig is now a full cage rig, what used to be a 60min tape is a 1Tb SSD and what used to be 720p is 4k. Time changes! Must of us here grew up with Ryan and his family both in age and experience. That is why we all sympathize and enjoy the channel. However, I believe must of the negative comments and confusion comes from new subscribers, new filmmakers and hobbyist. They need to chill and binge watch filmmriot from the start.
In another note, thanks for this episode and keeping the show alive for all of us. Look forward to the next episode.
Thanks man. Definitely a good observation, that’s my assumption too, which is why I thought this episode might be helpful. We just try to be as open as we can as often as we can.
Thanks for being a part of the community for all these year! Means a lot.
I always say we don’t have a budget, just to feel more humble, but in reality who knows how much I spend on gas, props, gear over the course of time, whether or not it is centric for just one film purpose. Being a young indie filmmaker is definitely a interesting grey area regarding budgets.
Hey Ryan & the Film Riot Team, great video. One thing you could add is, since Luc Besson was able to independently foreign pre-sell Valerian as a $180 million indie movie, you could technically include high budget in your breakdown....Then again, considering it flopped maybe it's best not to get indie filmmakers hopes up with that.
I considered it, but decided to leave it out as it is a very rare case. But still shows how relative it all is.
Really appreciate the transparency of this episode. You didn't have to provide an answer for the naysayers and the haters. Those people are always going to be bitter, because they see you succeeding while they still can't figure out why they are not. However, everyone that actually watches you guys to learn should come away with a lot from this episode.
I can relate to this because I shot my short film with a A7S2 and 3 batteries. Anything is possible but you need stop letting budgets define your shoot! Love you guys man!
Sai Ashwin no. Got mine used off Kijiji for 1600.00. Could have done it with my a6300. It’s not the gear it’s the person behind it! If I was worried about cost all the time I would have never even attempted the short film. It’s not just about resources but how resourceful you can be! I used friends as actors, who also were cosplayers so they helped a lot with the costume. My sound guy flaked on me so we had to do all the audio in studio. We had only two days to shoot with a 5 hour period. I drove a total of 17 hours both days in a row to pick up and drop off all the actors! The weather changed and we ended up having to revise and shoot in non chronological order. I forgot a charger in Ottawa and had to drive back from Montreal to get it and got no sleep! Charged back up the batteries and went on no sleep! Sometimes the biggest challenges lead to the best results. I’m no different then you man you just got to believe in your vision as much as I did!
"It's not about the money." aside. I'd love to hear you talk about how you financed your larger budgets and if you saw any return on your investment.
Not sure what we would be parroting, or why you seem to be upset. We’ve talked about where we get the money several times on the show. It comes from parts like Canon, Adobe, and my own money.
I’ve also never made money on any short film, I’ve only lost money. Because it’s not about the money. A feature would be a very different thing, that would have to make money. But shorts don’t really have a money making model to them. They are investments in yourself and your cast/crew in hope yo grow into bigger things.
Hope that helps.
@@filmriot Thank you for the answer, which is completely legitimate to me. I hope my question didn't come across as an attack. It was made out of genuine curiosity. Also, thanks for the Darker Colors recommendation. I really enjoyed it.
@Christopher you didn’t come off attacking at all. My “upset” comment was for the other post. Your question was a good one. Thinking about doing an episode to dive in more. Thanks!
@@filmriot Ryan you did what you did and you deserve all budget you want. And you deserved the $120k+ on ballistic... And again you deserve to get your "there comes a knocking" made on bigger budget hollywood level. Good bless you
@@filmriot That would be fantastic. It's an interesting subject, not just in where do you go, what do you prepare, who, and how do you ask but what does it mean for the integrity of your film. I'll never forget the scene in Ed Wood where his investor says, "I want the film to end with a big explosion." and then proceeds to insist that his nephew be cast as the lead. I could go on.
Man, I've been watching you guys for at least a decade now, and it's so enlightening to see your productions scale up with the experience and resources and connections you have made over the years... that takes a lot of time and effort so huge props for that! And I completely relate to the thing about having bigger budgets feeling even more constrained than having pretty much no budget or micro budgets, but we've managed to squeak by due to a lot of problem solving.
You guys are such a wealth of knowledge. Many of us love being a part of your growth in the industry (through your videos). Thank you.
I think the strongest lesson I took from this was that even at the higher level you guys are operating on - favors, network, and trust is paramount. It serves both as a warning to those who maybe aren't ready for that level of commitment to passion projects, but also as a reassurance that it can still be done as people progress in their career!
Film riot to me is like Movie Magic to Ryan
This one punched me in the feels. Really incredible to read that!
There are no other channels that come to mind that show you how much a filmmaker grows year after year. Don't ever feel the need to apologize for that; your journey and evolution are what remind me that good things come to those who put in the elbow grease.
i've been following you for so long.. Saw you evolve and become pro! I'm so proud of you !!
That really means a lot. Thank you!
I love how you made your films through networking and sharing a passion with people. I also love how you don't take any of the negative/cynical comments personal, and STILL try to encourage other filmmakers. Limits spark ingenuity, and I love how you shared alternatives to getting a "dolly shot." It should be common sense for us, but sometimes we focus on what we don't have, and we forget to use what we do have to do something even better! Cheers!
Love your channel man! Keep it up! I'm really wanting to get into filmmaking and you've inspired me!
When I'm shooting run-n-gun on something, I'll wear long sleeves and slide my forearms across a smooth surface for a dolly shot, if I don't have time to set up my slider.
BTW, you guys are a huge inspiration to me. You started Film Riot the same year I started film school. That teleporting spider shot really hit me in the nostalgia. Thanks for all you do!
Haven't watched Filmriot in about three years, come back and Ryan Connolly looks like a distinguished dapper dude! #BammyWham!
You guys inspired me to pursue filmmaking, im happy to see the channel up and running as it has been since the early 2010’s.
Glad you are talking about the business side of the industry. The side that really is so often pushed aside for creativity.
I've been watching you guys for 10 years. While I've worked on many other people's projects over the years, I'm about to direct my first serious short film in May and you've been a huge inspiration!
Thank you for this! I appreciate everything that Film Riot has done for me. You guys are the reason I’m going into film. Tomorrow I’m shooting a short comedy scene with a budget of $20 and I’m so excited for it. I’m 21 and I’ve watched you guys since I was 14. Thank you for being candid and generous with your knowledge and experience. I only wish the best for you and your team.
Your videos not only motivate me, they also give me that feeling of "mhhhhen, I need to change my perspective". Thanks alot FIlm Riot! Thank You Ryan.
A good companion piece to this would be more on how filmmakers fund short films beyond the no-budget or microbudget level. How do you raise $20k for Ghost House or $100k for Ballistic or $??? for Seth Worley's Darker Colors when shorts don't offer a return for investors to be involved? Without Film Riot and great relationships with companies thru that avenue, how do other filmmakers usually fund their shorts? I think a lot of people that view this channel, like me, probably have no idea how to go beyond a no-budget short other than just out of pocket, and while some people get their start with no-budget shorts like David Sandberg's Lights Out, knowing how to fund shorts in the $5k+ range can be a huge help to getting projects off the ground and getting yourself out there, so this would be so very enlightening. Thanks!
6:26 "beg borrow, OR STEAL." I think that's the best thing I have heard about filmmaking today
I love when you started getting into the short film stuff, super helpful! Great video such a unique topic to cover that gives filmmakers like me a realistic perspective on budget! Thanks Ryan ❤️
I love this episode. Hope that you guys continue to do more budgeting and logistics based stuff. I feel like there are still many principles of filmmaking that creatives don't get in that space.
Noted.❤✌
Well i think Ryan was talking to me here.I've done that mistake for so long. Thank u for yet another video.
Keep on teaching us the great stuff✊
Finally...Ryan dropping the knowledge on SO MANY negative people! Go out there and make it!
This is one of the best episodes in a while guys! Thanks for the info Ryan and keep up the good work!
Right on the money!!! No pun intended!!! I've been working this craft for 35 years and I could not agree with you more. The only caveat is, we many times get what we pay for. Usually the case when bringing on the circle of friends and family that don't know crap about the craft. All the passion in the world can't make Johnny Well-Intended proficient On-The-Day. This is a craft that requires the pro or 2 for the job. If you want to make the day, that is. There comes a point where hiring the pro for a particular department is actually the cheaper, safer way to go! All part of the budget process!
Amazing to hear how many people worked for the passion of the projects, for free. I will let go of the guilt I have from thinking I HAVE to pay my friends for a passion project. Let's all scratch each other's backs in the beginning, and one day all the working for free will pay off.
Incredible what you achieved! I'm a fan of the show for about 8 years now and its been an amazing journey. Looking forward for what's to come! :D
Great video once again. The comments about people focusing on equipment really hit home when I made my first (pretty much) zero budget film. All I had was so many negative comments from people saying I had to shoot on Red cameras etc etc. I knew I had no money so I wrote the film to match that. Focused on what I could achieve not on what others thought I should achieve. Yes the film didn't look or sound that good, but for £1500 what can one expect. What we lost in looks & sound we made up for in story, characters, pacing, structure and passion.... and all that will always be more important to me than whether a film is 4K with DTS sound.
guys, I never get tired of saying thank you, your comments and work experiences encourage us all to keep going, just like you, movie magic show on discovery inspired me too, maybe I have procrastinated my way to success, for fears that I think you help me overcome
I worked as an art p.a on a 100k movie. And the cinematographer was using practical tricks like a cart basket with dolly grip. No jibs or doorway Dollies or JL fisher. A regular basket cart like they use for cabbie drivers running fare in 3rd world countries. And every scene was just speed rail on apple boxes with Dana dolley. Some speed rail on 6 step ladders. I learned a lot as I want to be in the 600 one day.
I've enjoyed watching your journey these past ten years. Whether you use DIY gear or expensive gear - it's all fun. Still, I think when talking budgets, it would be helpful to share two budgets: your actual budget - which is usually lower for you because you have friends and business relationships that help you save costs (and that's a good thing) and the no discount budget - what it would have cost if you had to buy/rent/hire everything/everyone at standard prices. Having said all that, my favorite Film Riot film of all time is still Teleportation Tourettes - so funny!
You're absolutely speaking the truth, it's not the camera it's the person behind it.
Im glad you talked about where A LOT of the money goes to outside of crew. I'm now starting to produce some "large" short film and starting to see money used mainly on things like you said (catering, gas, hotels if needed, locations, small items here and there, etc). Some people do not know that when going in to making a short and always go "wow it really cost over 5,000 to make that? I thought everyone worked for free?" without thinking about those other costs. Locations for me always seem to cost the most. Some people, like yourself and even myself, are extremely lucky to be able to get big gear for free or through friends with connections (aka working at rental houses). That plays a huge factor too
On the 100K for Ballistic where did a lot of the funding come from? I assume the sponsors provided some, but the rest? I really am interested in learning how to get funding for above $5k-$10k. I've done a lot of crowd funding/help from family/my own credit cards (Not fun lol). A video about reaching out to investors/sponsors would be really cool for someone like me trying to help my productions acquire more funds to maybe get better locations/pay people.
Love it when you shoot your videos in this room. It’s pretty damn cool
This video is gold. Can't let money slow down the passion train.
So MANY details that usually we don't take in consideration, that money flies! Thank for all the info
Film Riot is THE film school for indie film making. i learned more from watching your videos over the last 4 years than anything i did before and that includes tv work back in th early 90's. Film Riot, D4 Darius and IFH are the places to go and learn. THANKS FOR EVERYTHING PAST PRESENT AND FUTURE. And the oscar goes to....RYAN CONNOLLY! [thats a prediction you can hold me to]
Now that you've gone over budgets, I'd love to see you do one on various ways to get said funding (and how each success funds the next). Of course, if you've already done that, I'm sure one of the awesome peeps here will prove their awesomeness by sharing a link! 'Cause, you know, there's awesome people here. And you're awesome. Awesome! :D
Seriously though, thanks for this. Really helps to put things into perspective!
We are actually planning on that. Should have that episode within the next month.
Woohoo! See? Totally awesome. :D
Thank you guys for all that you do. Just thanks.
I came late to the channel...about a year ago, but I really love what you and your team put together. You guyz are amazing! Thank thank for sharing your skills, technique and knowledge. I am motivated every time I watch a video from your channel.
What a great idea for a video. Thank you for making this.
Most enjoyable to hear so much good sense, expressed so pleasantly in 14 minutes. My dharma is writing, but the principles expressed here apply also in my work as a "utility photographer" for a small school, community, and sangha. I need just enough decent gear that it doesn't get too much in the way. For me, that's a workaday Canon 6D body with two exceptional lenses. Like good running shoes, the gear is a comfy fit and tends to disappear while I'm working. Film is oh so tempting, but I've tended to fall off a cliff when I've leaned in that direction; shoved over by cosmic destiny.
This was a lot of good information. Money is a complicated subject in this field of work.
I made four episodes of my show Wight Space using a single DSLR and help from a lot of great people. I did the vfx myself. In all I spent less than $500, and while I was limited on what I could do, and wish I could have realized my vision better with a real budget, I'm proud of how we pulled it off on so little resources.
Soon as someone starts asking what gear you used they're immediately looking for an excuse why your film was better than theirs. It's sadly a comparison trap that exist in society nowadays. Even in my local film community one of our better DPs gets the "yeah but he uses a...." comment often, he then made a killer short film using a smartphone. Should have heard the excuses then. Ya'll rock and I love that you're sharing this information. I've spent more on film festival fees than I have on film productions....it's an expensive hobby!
Thank you for keeping it “💯” getting tired of all the gear talk.
I feel like this is a really important video. I think there's been quite a lot of misconceptions regarding budget, since these "epic B-roll" channels started growing.
Also thanks for making these videos because they help me get in the creative mood to film!
I wanted to know the budget for “here comes a knocking” the most and it was the one that was skipped over lol! Good info tho Ryan. Always be creating 💪🏼
at my college there is a photo journalism school and I was talking to one of the students as she flew her macaw around the courtyard and photography and film students were all filming her bird with dslrs but failed to take into account where the sun was so my Samsung j3 got better videos of the bird then the film students. lighting is lighting and filming into the sun makes a colorful bird look like a raven every time.
I loved Movie Magic as a kid. One of my favorites.
I never realised that you had Ryan Booth as a DP on Ghost House! Awesome
I was just watching and thinking about how much I want a Film Riot t-shirt... it's fantastic!
Been following this channel religiously since I found out about it in 2009 or is it 2010, and I'm so proud of the growth you guys have had, watching all of you grow (Josh) on RUclips, it's crazy...
I'm watching all the way from Nairobi, Kenya... and trust me, filmmaking here is a gazillion times harder, but we manage, lol.
Ryan, a huge favour... I'd love to know how to film a huge coverage sequence, like a family at a dinner table... or a banquet table at medieval times. I want to know the nitty gritty's of the wides, the close ups and reaction shots. How do you sucessfully shoot an interesting dinner table scene....
That's all folks. I'm proud of you guys... hope you land a Hollywood gig soonest.
Y'all taught us a lot. We appreciate film riot
I've followed you, Ryan, since the dawn of Film Riot. :) There's rarely a video I haven't watched.
I've always made the mistakes you're talking about. I've always tried to finance my things and since in my country it's extra hard - they've all (with minor exceptions) stayed on paper.
Thing is, you can't have a connection and/or friends with Canon, Alexa, a studio or anybody really if you're not living in a major country.
Honest question: why did you choose to make ballistic for 120k, instead of shooting a non-genre feature (drama or comedy) for that very same amount of money? In Europe, people shoot extremely low budget features for that much money, then you see those films getting recognition at a couple of major film festivals (Berlin, Cannes, Venice) or even smaller ones (Turin, San Sebastian, London, Rome, Locarno), and that jump-starts the filmmaker's career. I'm thinking of a lot of european filmmakers who might not be popular across the ocean, but this could also applies to the careers of peeps like Noah Baumbach or Sean Baker, or films like Blair Witch Project.
I mean, what are the pros of shooting a High budget short film instead of a micro budget feature? Because, you know, short films are extremely hard to market and to get people to see them, while with a feature this is way easier (also, if I were a studio exec, I'll be more impressed to see a young director who has pulled of a feature-lenght film or documentary, rather than see one that has made primarly short films).
Ill answer for them. Their goal is obviously to reach the point where the produce high budget Hollywood films. To do that you need to gain experience in working with and managing high cost equipment and set. Before any top studio will green-light any relatively high budget project they will of course need proof that production staff is capably of efficiently working with and managing high budget sets, producing "good" films with increasingly higher budgets will act as said proof. No studio will hand over tons of cash to a team that cant manage it efficiently.
Also worth keeping in mind: Blair Witch was bought in the late 90s and completely redone for another $200k, with new sound design and a few scenes reshot and re-edited. Sean Baker had made Starlet (which was Hollywood low budget) before he made Tangerine (and he turned down another Hollywood-style low budget film to do it). Noah Baumbach not only came from money but started his career with Kicking and Screaming at the tail end of that early 90s boom that allowed guys like Soderberg and Tarantino through. On top of that, debuting at someplace like Berlin requires having a producer with a network to get you in there. You're not just going to shoot a no-budget feature, submit it online and get in. Trust me: I spent years trying to break into those and not getting anywhere.
Make what you want to make. Those big successes are extremely rare and came about in specific circumstances. Features are made and never seen by anyone CONSTANTLY now. Constantly, and in every single possible genre you can imagine, not just action or drama or comedy or horror but everything. And they're often pretty damn good, too. I cannot overstate how many indie features are being put out right now, because just from my end of the world and from my own networking I started losing track, but it's definitely more than anyone can see in a lifetime. Make what you want to make. If that opens doors, all the better, but make what you want to make now.
@@sleepingdogpro and Docraki Hey, thanks for the answer!
Yeah, I think that being in Europe I'm too used to our production model, which is completely different from the US. Here the producer's network doesn't have to go hand in hand with the budget he can assemble, rather than the prestige it holds towards the festivals and the "film community": if you go to Cannes being, I don't know, Pedro Almodovar's protégé, you are gonna get a better chance than Mr Nobody, but I can assure you that Almodovar isn't gonna make a 100 million dollar film (or even a 50 million one, heck, I'd be surprised if Dolor y Gloria exceeded 10) anytime soon. It's just a different industry with different figures. And here in Europe if you want to make "the big stuff" you have to go through those festivals, much like in the US you have to go through Hollywood.
Anyway I'm shifting away from the movies that come out from Hollywood, and I find myself exploring more and more the movies made here in the old continent. I think that's where I'm heading to right now, so that's probably why it didn't make much sense to me to make a short rather than a feature.
@@francisjirons I could definitely see what you're saying and festivals tend to do very little over here for sure (even getting in the tier one fests means you have to be in before you even shoot your film). It's exhausting over here in the US - literally the first conversation about getting a feature made, before anything else, is about how much money your film might make back, and the majority of conversations you ever have about a film when you're making it (at least a traditionally budgeted one) relate to money and nothing else. I dropped back to zero-budget stuff because I was tired of the constant go-round between funders and crew/cast/sets/etc. Costs balloon everywhere really quickly and no one is happy with what you're paying them. There was never time to actually enjoy the craft. At least with no-budget, the people who are there show up because they love the idea of it if nothing else.
I thought I was gonna be Micro budget cause I spend around 2k-5k on my films...
*Micro Budget: 100k-500k*
Me: No budget it is...
The point I was trying to make is that it’s all pointless to classify. It’s so relative to where you are at. What’s low budget to you is massive budget to someone else. That’s why we made this, I was hoping to show that thinking too much about budget is as useless as being overly concerned about the specific camera used. All that matters is that you are telling your stories. :)
@@filmriot Yea I saw that was more evident as the video went on! You have really inspired and challenged my way of film making since the very beginning of Film Riot (since the Florida days). Hopefully one day our paths will cross in the industry world!
Exactly. I got 2 actors that aren't even actors. I got an old camera and a great idea. If you got 2 actors that can't act, what do you do? You don't show their faces and you don't hear 'em talk! Currently working on local film-fest nominations and we got high hopes about it! Thanks for everything!
@Caleb Brown that’s really wonderful to read! We’ve all grown as filmmakers together. You all have challenged us just as much. :)
Dude those glasses suit you well. You sexy man! Thanks for the inspiration over the years.
Films scale, that's how it goes and how most Filmmakers like it! Cheers!!
Thank you Ryan and Fam. for Film Riot. The reason Revolta Films exists.
I loved the show Movie Magic as well! There was also this little channel called Film Riot that was pretty great as well lol
Great information!! Thank you for taking the time for this.
This is great. I have found the best asset ... are the people. When your network believes in each other. And crew comes to a great understanding of what they put on the table for whatever the budget it is, really can make any project just look great through the passion. We all want that beyond the low-budget life ... but we all also love the passion to create and be able to make something within a budget that makes us even more creative, not just for the look but for how to rig up stuff for the look. Am I right? :)
Well said ! If you love film you use what you got.
Been watching since before the gray the hair! Looking like an old sage! Keep grinding my friend!
man, i love this channel
Movie Magic! I have so many VHS tapes with that show on them. There was an episode with Tom Savini showing how to use a condom for gunshot blood splatters so I used one with a black cat to explode it on my chest. I went def for a week but the shot look great! All that matters! Great video!
I love you man!
Biggie said it best: “Mo’ money, mo problems.”
I thought watching this video would demotivate me, because of all the restraints of budget... but oooohhh was I wrong
I’m so glad to hear that!
I remember making movies with a VHS camera and editing with a VHS player as a kid. Awesome fun.
Then I discovered video editing on a computer. Mind blown!
Thanks for the video. Great content.
This was very informative and helpful. Thank you for everything you guys do and I hope you get to make your own feature soon.
Thanks!!!
I am also working towards making a feature and your videos have help me get better as a film maker
Background music reminds me of the 'smoking' scene in The Breakfast Club. With you asking for water, the only thing missing would be making those spectacles dark.
Very helpful and inspiring perspective. Thanks Ryan.
It's been fascinating to watch your channel and abilities change down through the years. If you were still doing it the way you started it wouldn't be very interesting! Even in your first opening you said "Let's figure it out" and now you are still figuring it out at a much higher level. Keep it up! I've learned so much...
Thank you for this! This helps me a lot with my films on my channel! YOU ARE MY PERSONAL FILM SCHOOL!
Every time I see you guys’ BTS, I mostly see equipment I don’t have but I do understand that the story is what matters most. To those complaining “filmmakers” - you can have all the equipment in the world, but if your story sucks...IT! JUST! SUCKS! No one will care what it was shot on...hell, the original Blackmagic Pocket still looks beautiful and very cinematic.
Very wise words learned from experience
Very very well said. It's all in the storyline.
Fantastic and hugely inspiring. As are many of your videos. Iv learned so much watching them. I love the comedy in them too. Laughed so much this past week.
Ever done one on how to save a project and turn it around with the footage you have only as you are unable to reshoot and footage is poorly shot and still not all that good when in the edit stage. Feels like a home video from the VHS days. Keep up the good work.
Just for example: We've shot an independent feature film (77 minutes) in Shanghai, China just for 130k USD. Most of the money were paid just for the equipement and locations. As you've said in the video it really depends on where you shoot the video, what genre it is (comedy/drama in our case) and if you have enough people willing to help you for lower or no pay.
ruclips.net/video/nJueSCqpQi4/видео.html
And on top of that I'm a martial artist and in this stage and age martial arts shorts on RUclips isn't really advertised as much as other forms of media, not mention the fact I live in forest Park, ga, and here there aren't that many artist in the area.
Ryan- great episode. Appreciated you and your team from day one- Rev3 days. Adam
Really digging the setup
DP'd my 1st feature four years ago with a $300K buget =]