#sf3fest

[mobilemoviemaking]

Worm’s-eye Action Shot Shooting from ground level isn’t original, but it is a challenge when the person in the shot is also the cinematographer. This image from “The Unseen”— by Tom Major— demonstrates that a solo filmmaker can employ as wide a variety of angles as would be found in a production with a large crew. Also noteworthy is the signage—“COME ON IN”—which tells an important part of the story of gambling addiction. Casinos are inviting if dangerous places. Made using an iPhone 13 and @FiLMiCapps, “The Unseen” recently won the LumaFusion prize at @SF3fest. The 3-minute film is posted at MobileMovieMaking. #shot-variety #worm’s-eye-view #solo-production #addiction #gamblingaddiction #shotoniPhone #one-person-movie #signs https://www.instagram.com/p/ClJtNR8vRXa/?igshid=NGJjMDIxMWI=

[falkenscreen]

SF3 Celebrates Fifth Year with First Smartphone Feature

“My prediction is that a couple of years from now the fact a feature was shot on a phone will be totally unremarkable. When Blue Moon screened in Dublin the curator didn’t tell the audience until after the screening that it was made on iPhone – the audience was astounded.”

Championing film’s most democratic innovation, Australia’s dedicated Smartphone Film Festival has taken the leap from shorts to features. Having put out the call, SF3 are premiering Stefen Harris’ Blue Moon to an Australian audience which would not have been possible but for what’s now in all our pockets.

“I knew from the get go we were shooting iPhone – that’s what allowed us to green light the film,” said Stefen. “Not necessarily because the camera was cheap and accessible but because the iPhone gave us tremendous freedom – I was giving myself a green light to shoot a feature film in 30 hours over six nights.”

“All these limitations dictated the style of the film. The plan was to keep the camera constantly moving, using long takes up to 8 minutes in some cases. The time pressure meant the actors were under real duress and that translates into their characters on screen.  There was no stop start reset… Any other camera would have slowed us down to the point where we would not have completed the film.”  

Commencing at 4:20AM within a petrol station and concluding at 6AM, the first SF3 Best Feature winner reunites two men who have a tried, decades-old past

“Once the audience was along for the ride there was no opportunity to look away, no respite from the relentless,” said Stefen, who will soon be making the trip over from New Zealand with cast and crew. “There is a ticking clock device built into the story so the characters and audience know something has to happen at six o’clock.”

“We’re totally thrilled to premiere Blue Moon at SF3…. our first screening to an Australian audience is particularly significant for us.”

Hosting the inaugural SF3 Gala at the Chauvel in 2015, throughout each of the successive years the Festival, unique to Australia, has grown in scale, audience and reach. Achieving too a record number of entries at this new milestone, clocking in at over 200 this year and now over 1000 since the Festival started, SF3 has opened an uncommonly accessible avenue to filmmakers; local and international. With the smartphone advent dually attracting both seasoned filmmakers who want to experiment together with burgeoning Directors who can render ideas achievable with their new Galaxy, the Festival remains a unique networking opportunity and distinctively creative forum for filmmakers of wide-ranging experience.

Importantly, SF3 has also excelled in three major respects. Firstly, and this really shouldn’t be of note but here we are; the Festival has consistently highlighted the most deserving technicians and creative minds behind its crops of finalists.

In 2017, Ren Thackham’s Rearview deservedly garnered the bulk of SF3’s major awards with her stand-out short, as did Malwina Wodzicka with 2018’s no doubt best entry She Rose. Not all Film Festivals consistently reward the best addition to any year’s slate, a matter of familiar and ongoing frustration for fans and filmmakers alike. Winning at SF3 and moreover so for succeeding filmmakers so deserving of their plaudits is no minor matter for any up and coming creator.

Secondly, and to this point, SF3 has consistently achieved what any Festival should set out to do; providing a grounding for filmmakers to grow their career. Having served as a key breakthrough for creatives, Thackham, who this week was the only entrant to nab Jury and Audience Awards at the Short + Sweet Film Festival, too returned for the 2018 SF3 Finals and, amidst composing the SF3 2019 trailer, is now preparing for her first feature film.

Wodzicka, in 2018 a first-time Director, too returned to this year’s Finals and following the 2018 Gala has gone on to receive numerous accolades for She Rose at Festivals around the world.

Finally, SF3, an early Festival to recognise the soon to be much greater significance of Virtual Reality technology within the film industry, again returns to a now weekend of Festivities with the dedicated VR strand SF360. Preceding the Gala Awards this Sunday, the preceding Saturday will too showcase SF3 Kids, SF3’s Masterclass and Blue Moon.

“It was always going to be just a matter of time before we opened up our festival to include a smartphone feature film,” said SF3 co-Founder Alison Crew. “We thought, why don’t we just add it as a new category and put it out there and see what we get? We really didn’t know. If all else failed we could maybe do a retrospective screening of Tangerine.”

“As it turned out, we received 11 feature film entries! And to our surprise, they were all really good, We’d already made the decision to screen just one this year to test the water and demand. But having received so many great films, we’re considering growing the Festival next year to include more features. It may be that we bring back some of the other films that were entered this year, they really were that good. I definitely see smartphone features as where SF3 will grow into the future.”

“This is momentous for SF3,” said Festival co-Founder Angela Blake. “Since the beginning we knew we wanted to eventually screen a feature to complement our Gala and SF3 Kids. 5 years ago when we started, smartphone filmmaking was still relatively new, we were still convincing people that this could be done, that the films looked amazing.”

“We were blown away by the quality (of the feature entries). We wanted to screen them all! And they came from every corner of the world: Australia, New Zealand, Poland, Georgia, Italy, UK, and India. But just wait till you see Blue Moon, wowsers. It is shot on an iPhone 7+ but that just doesn’t matter anymore because the film is just so incredible. You forget it’s shot on a phone and instead are lost in the cinematography, the script, the actors and the world.”

This year’s Gala Finals, acknowledging changes in the medium, have too adapted as smartphones have become both more adept and ubiquitous in film circles.

“For the first year we extended our time limit from 6.5 minutes to 20 minutes, so that is a huge change for the audience,” said Angela. “We realised filmmakers are getting savvy on their phones and starting to make longer films… we have 15 films in our Official selection, ranging in time from a 1 minute French comedy about vegetables to a 18 minute Russian drama about the dangers of live streaming.”

Amid international entries there are numerous Australian Gala finalists including Colder; developed by local filmmaker and Kino Sydney regular Kenny Foo together with Kino Director Byran Fisher.

“Many months of hard work by a small and dedicated group of friends have gone into this 13 minute short,” said Bryan. “This was the first film shot on a phone that all of us had worked on… it’s incredibly rewarding to have your hard work recognised by such a prestigious Festival. It’s both exciting and terrifying to see this film on the big screen in a full house (but mainly exciting).”

“We have some beautiful Aussie finalists including comedies about the selfie culture among parents, a horror film set in the suburbs of Sydney, two inspirational tales, a Jewish wedding gone wrong and so much more,” said Angela. “It’s always interesting to see the issues of the world reflected in the stories of films we get. A change this year is that we have seen a lot of films entered telling tales of the dangers of living your life on line and live streaming your life via social media.”

With prizes worth in excess of $40,000 up for the taking, SF3 will take place at Event Cinemas George Street from September 14-15.

on Festevez

[1barefootgirl]

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Keep moving forward. #clouds #keepmovingforward #life #write #writer #writersoninstagram #writerslife #screenwriter #screenwriting #screenwritersofinstagram #screenwriterslife #Toronto #LA #hollywood #smartphonemovies #sf3fest

[mattiedaisy]

I'm a judge for SF3 and they want your smartphone and tablet shot films - shorts, features, 360/VR and kids' films. And did you know they have a brand new category this year? The SF3 Iso Award and they want you to enter! This film must be a max of 3 mins, shot on your phone or tablet and be made within your local lockdown laws. Isolation is not an excuse, get creative, keep making films and enter by August 1st to share in over $4o,ooo worth of prizes at www.sf3.com.au @montesmethod @sf3fest #filmfestival #smartphonefilmfestival https://www.instagram.com/p/CAkBqHHJRd0/?igshid=dzf7k1wberhc

[premasmith]

ARE YOU HAPPY?? People ask me this question a lot and I answer with a big YES!! But for me happiness isn't a massive priority. And we humans shouldn't hold this emotion higher in value than all the other emotion. I am so grateful of everything I have in my life that happiness is just an emotion that is equally important to me as sadness. I embrace both emotion and use them both in a proactive manner. It's important to value all the emotions we have. I can't write a beautiful love song if I am super hyped up as I can't dance like crazy if I am super down but understanding and valuing me and my emotions makes me so grateful for everything in my life. So remember live love and embrace xxxoo happy Wednesday peeps ❤️#mindset #love #mentalhealth #happiness #aussie #actor #director #producer @sf3fest #singer #songwriter #thefreshprinceoftasmania (at Sydney, Australia)

[mobilemoviemaking]

One-person Movie that Doesn’t Look Like a One-person Movie Director Tom Major wrote, directed, and stars in “The Unseen,” but the finished project doesn’t look like a solo production. That’s because of visual variety including shots capturing the protagonist from behind. Made using an iPhone 13 and @FiLMiCapps, “The Unseen” recently won the LumaFusion prize at @SF3fest. And yes, Major did the editing! You can see this remarkable short about gambling addiction at MobileMovieMaking. #solo-production #addiction #gamblingaddiction #shotoniPhone #one-person-movie #filmprops https://www.instagram.com/p/ClCwUORvENC/?igshid=NGJjMDIxMWI=

[mobilemoviemaking]

Captivating Props “The Unseen” is a poetic film about gambling addiction. To convey the powerful attraction of games of chance, Tom Major—the filmmaker—included exciting images and sounds of casino equipment. Shot on an iPhone 13 using @FiLMiCapps, “The Unseen” recently won the LumaFusion prize at @SF3fest You can see this important short at MobileMovieMaking (link in profile). #addiction #gamblingaddiction #shotoniPhone #one-person-movie #filmprops https://www.instagram.com/p/ClAFqerP5dt/?igshid=NGJjMDIxMWI=

[mobilemoviemaking]

Framed by an Hourglass More evidence that—thanks to inventive filmmakers—we’ll never run out of onscreen frames. This example is from “9hr 17” directed by Benjamin Lapierre (@littlewalkoffame). The visually inventive 2-minute movie won the LumaFusion (@lumatouch) award at this year’s @Sf3fest. You can see “9hr 17” at MobileMovieMaking (link in profile), where you’ll also find a “making of” video that covers lighting, editing, cinematography, visual effects, and the challenges of shooting a complex production with a cast and crew of just one person. #mobilemovieoftheweek #shotoniPhone #lumafusion #visualeffects #solofilmmaking #framewithinaframe #filmcomposition https://www.instagram.com/p/Ca5i-tJP6kS/?utm_medium=tumblr

[mobilemoviemaking]

Twilight Silhouette The sophisticated cinematographer pays attention not only to subjects but also to light. Here, we have a silhouette taken at twilight. The shot is from “Invasion” directed by @PeteMajarich. This sci fi short won the Cinematography Award @SF3Fest. You can see “Invasion” at MobileMovieMaking (link in profile). #shotoniPhone #silhouette #cinematography #twilight #sciencefiction https://www.instagram.com/p/CLVD78VhVBk/?igshid=adyq8o2drllr

[mobilemoviemaking]

Eerie Window Shot You can tell a good story using straightforward—documentary-style— images. But as we see in the prize-winning sci-fi short “Invasion,” finding novel ways to capture action can enrich the viewers’ experience. Not surprising, director @PeteMajarich won the Cinematography Award @SF3Fest. You can see “Invasion” at MobileMovieMaking (link in profile). There, you’ll also find a personal and informative commentary by the director. #shotoniPhone #sciencefiction #cinematography https://www.instagram.com/p/CLQPIWOBX5W/?igshid=1l228nvzvedln

[mobilemoviemaking]

Extreme Close-up Getting into someone’s personal space is a questionable activity in everyday life. But in the world of filmmaking, the technique often creates a memorable shot. The example here is from “Invasion,” a sci-fi short directed by @PeteMajarich. The film won the Best Fiction Award @DublinSmartphoneFilmFestival and the Cinematography Award @SF3Fest. “Invasion” is the current Mobile Movie of the Week. You can see it—and read an interview with the director—at MobileMovieMaking (link in profile). #shotoniPhone #sciencefiction #close-up #extremeclose-up https://www.instagram.com/p/CLCq3gXBVGn/?igshid=ui2p5w7a15p5

[mobilemoviemaking]

Mobile Movie of the Week: “Invasion” "Invasion" is a visually stunning sci-fi short about a visit by a mysterious entity. The film—which won the Best Fiction Award @DublinSmartphoneFilmFestival and the Cinematography Award @SF3Fest—was directed by @PeteMajarich “Invasion” is the current Mobile Movie of the Week. You can see it—and read an interview with the director—at MobileMovieMaking (link in profile). #MobileMovieoftheWeek #shotoniPhone #sciencefiction https://www.instagram.com/p/CLAHFrRBVUt/?igshid=1stu360a2zw4t

[mobilemoviemaking]

More About SF3 Fest 2020 The celebrated @SF3Fest takes place October 9-18 in Sydney, Australia, and online. The screenings showcase sixteen mobile movies from around the world. The frame here is from “Prelude to Stars and Scars,” an experimental film directed by Yi Zhou and shot on an iPhone during the U.S. Covid lockdown. For tickets to view the movies—in Sydney or online—head over to www.sf3.com.au. #mobilemoviemaking #mobilefilmfestival #filmfestivals https://www.instagram.com/p/CGBLQl0BEny/?igshid=bud5z5kqbtq

[mobilemoviemaking]

Coming Soon: “The Lost Pen” Have you ever lost something that has great meaning for you even if to others it seems inconsequential? That kind of loss is the trigger event for “The Lost Pen” directed by Beraat GÖKKUŞ (@rookieskybird) An official selection in this year’s Smartfone FlickFest (@sf3fest), “The Lost Pen” is our next Mobile Movie of the Week. Stay tuned. #mobilemoviemaking #immigration https://www.instagram.com/p/CFx-Ssihblx/?igshid=2n91zkix0rf0

[mobilemoviemaking]

Tip #205: SHOOT CLOSE-UPS IN A CAR. The temptation when shooting in a car is to point the camera out the window. That’s fine. But experienced filmmakers know that taking close-ups in a car can create memorable images. The general rule: Shoot close-ups everywhere. This frame is from “Sad Sachs” directed by @JoelPerlgut. The film took the top prize @SF3Fest, and it was chosen as a Mobile Movie of the Week. You can see it at MobileMovieMaking (link in profile). #mobilemoviemakingtips #smartphonemoviemaking #close-ups https://www.instagram.com/p/B7jMuDDB2Iz/?igshid=3kzove70qwvw

[mobilemoviemaking]

Mobile Movie of the Week "SAD SACHS" Joel Perlgut’s “Sad Sachs”—which took the 2019 top prize at @SF3Fest—is about as dark as a comedy can get…while still being hilarious. The director (@joelperlgut) even gets laughs out of a neo-Nazi sequence that Lenny Bruce probably would have loved. At SF3, the nine-minute movie also took prizes for its screenplay, cinematography, and lead actors. Because the dialogue delivery is machine-gun fast, you might want to turn on subtitles…even if you speak Australian. You can see the movie—chosen as a Mobile Movie of the Week—at MobileMovieMaking (link in profile). Just click the slide in the homepage slideshow. And while you’re there, check out the Preview 2020 Video Contest. A 60-second video could win you a copy of Final Draft screenwriting software or another terrific prize. #mobilemoviemaking #mobilemovieoftheweek #comedyfilm #shortcomedy #LennyBruce #family https://www.instagram.com/p/B7g-2sDBn1U/?igshid=10mvwwzl593dr