#Smart Filmmaking

[garvescope]

The Most Valuable Thing Your Trailer Gives You Isn’t Views, It’s Data

You posted the trailer, you shared the ticket link, and you begged your followers to “check it out.” Now you’re refreshing the page, wondering where the views are coming from, or why they’re not showing up at all. Here’s the truth: if you’re not tracking how people are finding your film, you’re not just flying blind. You’re actively wasting momentum, money, and future opportunities. Every…

[hballegro]

guess what no one asked for

my sfms. here they are

you think i just make ellis and nick l4d2 content WRONG

i also make men kissing in tf2

i also made a few ANIMATIONS but those are NOT for viewing because most of them are GIFTS to LOVED ONES except THIS ONE

its not very GOOD but i DID finish it unlike MOST of my ANIMATIONS

that is ALL i will now go back MASH content. i just wanted to give context for my current banner that i made for pride month. i am proud of at least 3 of those.

[rainbowsuitcase]

This is Civil War meta/analysis; I like to think I write these objective but I know I'm biased, so Tony lovers, consider this a disclaimer

Civil War's final fight demostrated perfectly why both Tony and Steve had a point.

Tony, in the face of a crime that causes him deep personal pain, decides to deliver the punishment/revenge without being able to objectively weight whether or not it is deserved.

This is a an example of a situation where being "put in check" and not being able to act without a higher-up's permission would be good, if only so he himself would have the time to cool down and act more rationally.

On the other hand, Steve is arguably facing personal pain, or at least the risk of it, in this fight too (you cannot tell me there's not a parallel or something between the Winter Soldier killing Tony's mom, and Tony attempting to kill Steve's best friend, but that's a post for another day I guess). But he's able to keep a level head to protect an innocent man and when he gets the opportunity, he ends the fight swiftly without unnecessary casualties.

This is an example of a situation where the responder is able to keep a level head and having to wait for the "go ahead" would only slow down his reaction time and potentialy result in more casualties.

[carbon--14]

not putting this on the art blog cuz it’ll probably never get finished but re: that other post, WOE. STEVEN GRANT BE UPON YE

[ludinusdaleth]

"what's your lockscreen, last song you listened to, last picture taken and last movie you watched" - tagged by @wavebiders, thank you very much!

anyone can do it or not but ill tag @ghostcrustacean, @mikeehrmantrautshusband, @tunarath, @mehoymalloy, & @meadowsofmay!

[thatgeekwiththeclipons]

Happy 97th Birthday to Academy Award Winning, 4x Emmy Winning, 3x Grammy Winning, 3x Tony Winning writer, actor, comedian, filmmaker Mel Brooks! ^__^

[guybracha]

Mel Brooks

"If God wanted us to fly, He would have given us tickets." - the father of parody

[creature-once-removed]

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[starving-creativity]

THISSSSSSSSSS in person, location, practicality and intentional filmmaking will FOREVER hold out over cutting corners in my eyes

it’s just so wild and wonderful to me that “woe’s hollow” was filmed on location. like, they scouted out that spot. they found woods and hoped it would snow. that waterfall is real and you can go there. they had to get all that film equipment out to the shooting locations and they had to do it without moving anything because it’s a state park. those creepy icicle hands? the snow falling? the twisted trees in irving’s dream? the fog? that was all real. the fucking - cliff overlooking the lake?! that was REAL. adam scott really yelled down to john turturro from the top of that cliff! that’s so so amazing to me. like in most modern shows they’d have used CGI for the scenery and it would have been absolutely aesthetically perfect, sure. but instead they found a location and really looked at it and played with what was already there and allowed the story to be in conversation with its actual environment and it was just sooooo fruitful. like. do you understand? no one thought of and designed the tree icicles that looked like claws to be perfect visual counterpoint to the creepiness of the story. they just looked around at their actual environment and went “what’s unsettling about this place? what’s suspenseful?” and they took advantage of it, they leveraged it. that is so rare in filmmaking these days, i think, especially in television. and YEAH this season cost like 200 million dollars or something but IT WAS WORTH IT!!!!

[vmantras]

Xiaomi FX Pro 55: Affordable QLED Brilliance

Introduction: Xiaomi has consistently redefined the smart TV space in India with an aggressive blend of price, performance, and software integration. With the FX Pro Series, Xiaomi now pivots toward delivering cinema-grade visuals and immersive audio within a QLED framework—without breaching the ₹40K mark. The L55MB-FPIN is more than a number; it’s a calculated statement in design, audio-visual…

[goodjohnjr]

A British Film Shoot | An ARV? / Secret Spacecraft | Talking With Women | Antifungal Cream

File:Canesten.jpg Dream 1 This dream took place during the day. I got to star in maybe a British movie or TV show that was being filmed. One scene involved a man with light color skin and I being undercover agents on a mission. One of us caused a scene outside, distracting people outside, as the another sneaked inside a building. He entered the building to distract a woman. Continue…

[panvolkkaraczewski]

AI community is trending into commercials again. Here is my cinematic ad with latest tools.

[sarabyfleetwoodmacmp3]

💭

[cipheramnesia]

One funny piece of media criticism floating around Tumblr dot hellsite dot com is talking about making movies that are just fun, The Mummy with Brendan Frasier being a premiere example. Generally the way it goes is, "they don't have to be good, just fun." Thing is, making a fun movie like The Mummy is a lot of work. Exciting adventure stories don't just happen by accident, and part of the immense skill of such movies is making it all look easy.

I'm sometimes taken off guard by a movie that's better than expected - usually because they seem low budget and the summary sounds boring. Sometimes it's because it looks like another boring and cliche action movie. Plenty of those exist too, it's not like thousands of creators are falling ass backwards into brilliant filmmaking, Venom is an outlier. But it's really common to experience the surprise of audiences about some kind of big dumb action movie, and I think that's because so many action movies are big and dumb, few people understand that good action movies are smart.

You know what's good about the Mummy? Why it's good? Because it's a movie that knows every genre cliche the audience is waiting for, and chooses its moments to break those cliches with great care for maximum impact. It's good because it's direction knows how to build up great tension with the plot, through foreshadowing, through audience awareness, through genre standards. And the release is beautifully controlled. The "wrong side of the river" line is funny under any circumstances but it drops as a capstone on a very intense escape scene which makes it KILL, every time. When John Hannah's character turns out to be, against all the pre-loaded genre expectations and foreshadowing, actually a generally honest stand up guy, it's so much fun! Not by accident though. It's on purpose. It's a big dumb action movie but it's a big dumb action movie made by people who are very very good at making big dumb action movies.

That's really the thing of it all. There's now a hundred MCU movies that just turned The Mummy into a formula, they've carved out all the one liners and twists and turns mechanically, but they're not big dumb movies, because they're not allowed to be made with the kind of adoration of the genre that you get in smaller films, films that aren't locked into a three year product rollout plan. But you can still get big exciting movies if you look around for em. They didn't go away, they just got pushed out to the edge.

But I gotta beg again - take the time to recognize that when those movies that seem made without a thought or a care somehow manage to hit with you, give you a great big grin and a sense of excitement, remember that's not an accident or luck, someone probably plotted that out and made it fun on purpose, with care.

[hbogirls]

just rewatched the taylor swift x martin mcdonagh directors on directors and i can't believe they let her do that but i'm SO glad they did

[susiephone]

i am so fascinated by the world of "flow" because like. it doesn't look like the humans have been gone that long. the house isn't that dusty, the city is submerged but not crumbling apart, the boats are mostly in good condition, and the cat returning to his house makes me think that on some level he still expects someone will come back. but there are no bodies.

now, this could be because showing an actual human corpse would be too dark for what the filmmakers are going for, but there are ways they could've implied it if they'd wanted to - think tarzan's parents' being shown on the floor after the leopard attacks them, but you only see their feet. there are also no signs of, say, a nuclear winter, or a major natural disaster (until the flood happens), or something that would've caused a mass evacuation or a mass death. it really seems like they all just disappeared one day. between that, the secretarybird's "ascension" (as i think of it), and the whale that doesn't look like any real whale and also miraculously survived being beached as we see in the post-credits scene, it absolutely seems like there's some form of magic or divine intervention going on in this world. (plus you know. animals smart enough to steer boats.)

so like... was this the rapture? just some weird universal 'reset' where all the humans blinked out of existence and the animals were left to inherit the earth? or did humans die off a long time ago, but something kept their artifacts miraculously intact?