The ultimate magazine for next generation filmmakers
Editor in chief Adam Duckworth Chief sub editor Matthew Winney Sub editors Jim Blackstock, Minhaj Zia Editorial director Roger Payne EDITORIAL
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Sam Scott-Smith 01223 499457 samscott-smith@bright.uk.com DESIGN Design director Andy Jennings Magazine manager Lucy Woolcomb Senior designer Carl Golsby Junior designer and ad production Holly May PUBLISHING Managing directors Andy Brogden & Matt Pluck MEDIA SUPPORTERS AND PARTNERS OF:
SETS APPEAL Is this your dream job, or is it not in your genre?
Ever considered what type of filmmaker you are? Not which distinct cinematographic oeuvre you fit into – the Agnes Varda school of poetry and rhythmic storytelling or the humanist genre like Vittorio De Sica. It is said there are only two types – one who says they are going to make a film and one who actually does it. In professional filmmaking, there are certainly different types of operator. In the past few weeks, I have worked closely with current cliques of professionals who are all very different, at various points in their careers and technical abilities. Yet all have the mission of earning a crust while making great films for customers. It’s a huge generalisation, but from my ad-hoc research the first group is what I’ll call the New Media Savants. For them, it’s all about Insta fame, shooting vertical videos and smashing out fast edits with flashy transitions to the cool tunes Instagram lets you use for free. This ‘free’ mentality extends to using editing software on free trial for a month then re-registering with another email to get another month; they often run out of battery power and memory cards on shoots. Many are Generation Z – but not all. The second group is the Time-Served Tradesmen. Often they have well-established careers in image making, perhaps come from a stills background but chased the dollars into filming when clients asked for it. They possess decent kit, understand lighting and audio, have backup plans and spare gear on hand in case of kit failure. They are good with clients – which is why they are still doing what they do. Largely Generation X and late Millennials, they often look down on the New Media Savants. Then there are the Aspiring Aesthetes who dream of directing or being DOPs, selecting Cooke special flare lenses and Arri cameras solely for the unique look. They know the A-Z of great directors from Allen to Zemeckis and covet jobs on scripted dramas, even though they might actually earn from making adverts for dog food. Likely film school students of any age, they look down on Time-Served Tradesmen and New Media Savants. But this world of visual storytelling is a great mixing pot of age, experience and interest that all complement each other. The Aspiring Aesthete could bring their artistic vision to adverts. The New Media Savant can teach the Time-Served Tradesman all about the needs of modern clients and making do with what they have. While the Time-Served Tradesman is a master of professional practices, relationships and understanding a brief. That’s what makes filmmaking such a great industry: there’s a place for any creative with a vision, a camera and a plan.
Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridgeshire CB22 3HJ
Pro Moviemaker is published bimonthly by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge CB22 3HJ. No part of this magazine can be used without prior written permission of Bright Publishing Ltd. ISSN number: 2045-3892. Pro Moviemaker is a registered trademark of Bright Publishing Ltd. The advertisements published in Pro Moviemaker that have been written, designed or produced by employees of Bright Publishing Ltd remain the copyright of Bright Publishing Ltd and may not be reproduced without the written consent of the publisher. The content of this publication does not necessarily reflect the views of the publisher. Prices quoted are street prices. In sterling they include VAT (unless otherwise stated), but US dollar prices are without local sales taxes. Prices are where available or converted using the exchange rate on the day the magazine went to press.
ADAM DUCKWORTH, EDITOR IN CHIEF
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