ACTION MAN Is this person a real filmmaker? If he’s making films, then he is!
The ultimate magazine for next generation filmmakers
Editor in chief Adam Duckworth Chief sub editor Matthew Winney Sub editors Zanna Buckland, Chris Young and Minhaj Zia Editorial director Roger Payne EDITORIAL ADVERTISING Sales director Sam Scott-Smith +44 (0)1223 499457 samscott-smith@bright.uk.com Sales manager Gabrielle Pitts +44 (0)1223 492244 gabriellepitts@bright.uk.com DESIGN Design director Andy Jennings Magazine design manager Lucy Woolcomb Senior designer Carl Golsby Junior designer Hedzlynn Kamaruzzaman Junior designer and ad production Holly May PUBLISHING Managing directors Andy Brogden & Matt Pluck MEDIA SUPPORTERS AND PARTNERS OF:
The great thing about this industry is that there are no major barriers to entry – anyone can buy an affordable camera and set themselves up as a professional filmmaker after watching a few YouTube how-to videos. Conversely, you could say that this is actually a massive problem for the industry… which of these opinions you lean towards is probably dependent on your experience, training and even age. But it’s surely a great thing that affordable technology and access to free online training attracts newbies to the field, driven by the huge spike in demand for video content and a growing audience of consumers. From long- to short-form, vertical videos versus instant gratification, these are all the kinds of content that businesses are paying for right now. For those who have spent years at film school, then been out in the world honing your craft, you’re likely to be disparaging of this new breed. You might complain that they come in with scant or no technical knowledge and no backup plans for when things go wrong on a shoot, then undercut prices massively while, ultimately, video quality plummets. Not in terms of resolution – even phones can shoot in 4K now – but in lighting, composition, editing, grading and storytelling. It’s not even the ‘all the gear but no idea’ brigade, as many of these wannabes have older mirrorless kit and lenses to go along with their latest action cameras, drones and iPhones. Everything is shot at 24p with wide open apertures deemed ‘cinematic’, and LUTs bought from their favourite YouTube influencers slapped on in Capcut. It’s all posted on the only media platform that counts – Instagram – before any serious filmmaker has actually downloaded from their memory cards. The truth is that this industry does have room for everyone. Newbies who haven’t had the opportunity to go to film school aren’t any less passionate about learning how and why to do things. In my experience, many newer-generation filmmakers do want to be educated and progress. We all had to start somewhere, and nowadays the steep learning curve is more manageable than ever to those with determination. Equally, in a world that demands faster, snappier edits clients are willing to pay for, the old school should adapt rather than reminiscing about how things used to be. Decades ago, it was harder to get started making films; there were way fewer clients and it was extremely difficult to get your work out there. Now, being able to welcome one and all to filmmaking is something that should be celebrated. And with that, enjoy the issue.
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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