A NEW BREED It’s time to take a
serious look at why content creators are proving successful – and how you can fit in
The ultimate magazine for next generation filmmakers
EDITORIAL
Editor in chief Adam Duckworth Chief sub editor Matthew Winney Sub editor Zanna Buckland Editorial director Nicola Foley Contributor Ben Gawne
ADVERTISING Sales director Sam Scott-Smith +44 (0)787 5711967 samscott-smith@bright.uk.com Account manager Kurran Jagpal +44 (0)1223 492244 kurranjagpal@bright.uk.com DESIGN Design director Andy Jennings Magazine design manager Lucy Woolcomb Ad production Holly May PUBLISHING Managing directors Andy Brogden & Matt Pluck MEDIA SUPPORTERS AND PARTNERS OF:
with or without your help. They’re filming online courses, branded documentaries, behind-the-scenes series and product launches. They’re building six-figure followings – and sometimes six-figure incomes – without needing a single gatekeeper’s permission. The platform is the boss now, and the platform demands consistency, speed and a good story. Filmmakers have the edge in craft, no question. But creators are winning in agility. They understand that storytelling doesn’t just belong at 24p with a Netflix- approved camera. It lives in Reels, Shorts, live streams and behind-the-scenes breakdowns. It’s vertical, horizontal, Raw or cinematic – whatever gets the message across and resonates with a niche audience. To thrive, filmmakers need to stop seeing creators as amateurs and start seeing them as entrepreneurs, then follow suit. If you’ve got skills, use them. Partner with creators. Sell what you know. Build a newsletter. Launch a course. Make some behind-the-scenes content of your own. Monetise your experience. You can either wait for the phone to ring or start building something of your own. The tools are cheaper, the barriers lower and the stakes higher – and the creator economy doesn’t wait for anyone. So create, collaborate or get left behind. Whatever you do, don’t stand still.
There was once a time when content creation was a hobby at best, and many of us winced at the utterance of those two words. It was something that untrained youngsters dabbled in, shooting on smartphones or low-spec mirrorless cameras to get social media likes as if they were currency. But that era is over: content creation has become a profession. The line between traditional filmmaker and creator has blurred beyond recognition. Camera operators, editors and DOPs are finding themselves outpaced not by rivals with bigger crews, but by creators with sharper strategies, smaller kits and direct-to-fan income streams. The playing field has changed, and the winners aren’t necessarily the most experienced, but most adaptable. The creator economy isn’t just a trend any more, it’s a market worth billions – and is growing fast. Today’s top creators aren’t just filming themselves. They are writing, producing, editing, publishing, marketing, monetising and building entire businesses in the space where social media meets cinema, and many of them are doing it all solo. So what does that reality mean for professional filmmakers? Opportunity, if you’re paying attention. Irrelevance, if you’re not. Because right now, thousands of creators are growing their audiences, revenue streams and personal brands
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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