YouTube

Perhaps the first option that everyone will think of. YouTube, as a platform, attracts a great number of short filmmakers because of its global reach and popularity. Although the YouTube algorithm is more geared towards headline-grabbing content, meaning short films are unlikely to be initially recommended to users, the platform’s ubiquity means audiences are most likely to discover short films by using YouTube. 

Vimeo

Despite in some ways being quite similar to YouTube, Vimeo has done a lot to differentiate itself, particularly by appealing to filmmakers. One point against Vimeo is that to get the most out of the platform (including access to its best tools and more video upload space), filmmakers must pay for subscription plans. However, Vimeo also offers higher-quality video output, along with more customisation and privacy options for filmmakers to utilise branding and protect their work. The site is also more specifically focused on courting a viewer base interested in short films. For example, the platform has partnered with the European Film Academy. In doing so, it created a curated collection of high-quality shorts for viewers to watch. It’s a platform that is more centred on filmmaking than general video content.

Klipist

Essentially, Klipist is the Netflix of short films. The site has a good library of modern shorts that viewers can watch for free without adverts. Klipist also allows filmmakers to submit their projects to the service. In addition, links on each film’s page allow viewers to learn more about the film’s production and crew. The asking price for submissions of shorts is fairly steep. But, as a platform intended to foreground the prestige that short films are capable of and encourage viewers to learn more about the people making them, it is quite a good resource for short filmmakers.

Filmd

This platform is probably the most unique of all the resources listed here. Acting as a platform for film workers to interact with each other and seek out job opportunities, Filmd also allows film workers to upload their work. Through its Screening Room feature, other workers are encouraged to watch and provide feedback on a library of primarily short films. Again, subscription fees prevent the full utilisation of the platform for smaller creators. That said, it has the potential to be a great tool for encouraging artistic development, especially for those making shorts.

Streaming Platforms

Beyond platforms that are useful for both uploading and watching short films, they have become a much more accepted presence on streaming services in recent years. Among the major streaming platforms, MUBI and BBC iPlayer are likely the most underappreciated. Both provide a great space for short films to be considered alongside features. With a great variety and quantity of films available on their platforms.

These are merely a few resources that demonstrate the greatness of short films and encourage short filmmakers to showcase their work. If you take anything away from this article, let it be this: the world of short films is as vast and rich as longer-form movies. It deserves to be appreciated and nurtured just as much.

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Today we are going to look at the recent rise of generative A.I. programmes and how they can be used in film production. We will see if it is possible to currently use A.I. to make films. Additionally, we will look at how it could potentially change the industry.

“No Strings To Hold Me Down?”

Currently, there are many A.I. tools available that can create a movie’s building blocks. For example, OpenAI tools like ChatGPT, with enough input information, can create a refined script and shot list. Programmes like Speechify can convert text to speech using a variety of voices. Including celebrities like Snoop Dog and Gweneth Paltrow. Applications like Midjourney have already been used to create background images for animated productions. Such as the short The Dog and The Boy. And some tools allow you to edit videoes. Meaning a lot of a movie’s core elements can already be created and accomplished by A.I. But what about a film itself? 

Currently, projects like Pictory and Synesthesia use either stock footage or selected human avatars to make up their videos. Making them more useful for YouTube or business videos. However, trials are being undertaken to produce A.I. that will be able to create original video work through text inputs. Google is researching two A.I. projects aimed at making films. One aims to create realistic-looking A.I. video (Phenaki). Another wants to create high-definition short clips (Imagen Video), both from text prompts. Although these projects currently are only aiming for small videos it could potentially pave the way for longer video creation further down the line and also provides the opportunity to create original videos not based on prior material.

“A Machine, An Imitation Of Life” 

With all of the possibilities and the rate of progression of A.I. what are the implications for the film industry?

Some may say that the errors that A.I. runs into when rendering subjects in images would make it unsuitable for creating films, however, as technology improves, it could conceivably reduce those problems. On the other hand, even if this is not a possibility there is room for discussion of how this technology could be used to create experimental short films, that deal with more surrealist or unconventional imagery. If these programmes become available to the public these A.I. programmes could, like the advent of consumer film equipment and mobile phones before them act as a way of giving space to more independent filmmakers who may not have the finances and time needed to make a film.

It’s hard to see A.I. being a wholesale replacement for human film production. while these programmes can emulate human speech for writing and delivering dialogue, make artwork and other things, the spectacle of A.I.-created art will never wholly do away with the experience of seeing something achieved by humans. Whether it be acting or effects. The art of filmmaking is a collaborative process where teams of people with their own visions and experiences come together to make something with all the idiosyncrasies and sometimes improvised or unintended moments that entails. A.I. could probably never replicate that. There are also definite issues regarding image safeguarding and copyrighting and more to consider. But A.I. does present new ways to challenge and potentially help the industry in the future.

Also Read: A.I Generated Art & Movies: A Collision Course

Also Read: A.I Generated Art & Movies: The Rise A.I In Acting Performances

Your contribution to Big Picture Film Club will allow us to continue to produce content. No matter the amount your contributions are greatly appreciated.

The post A.I. Generated Art & Movies: Can A.I. Make Movies? [Part 3] appeared first on Big Picture Film Club.

Spielberg’s Bio

Steven Allan Spielberg was born in Cincinnati, Ohio on 18th December 1946. From a young age, Spielberg loved to make home movies with his father’s camera and go to the cinema. After several relocations and his parent’s divorce Spielberg began studying English at California State University. Having been rejected from Southern California’s film school.

While studying, he produced Amblin’. This short impressed Universal’s vice-president Sidney Sheinberg and he offered Spielberg a TV directing job. After directing several TV projects he directed the TV movie Duel. Which attained cinema distribution overseas and widespread critical acclaim. Spielberg then made his feature debut with Sugarland Express. Which marked his first collaboration with composer John Williams. His next film, Jaws, was the first film to gross over $100 million, was the highest-grossing film ever at the time and was Spielberg’s first film nominated for the Best Picture Oscar. Close Encounters of the Third Kind followed and earned Spielberg his first Best Director nomination.

In the 80s Spielberg continued directing hit movies. He also founded Amblin Entertainment with Frank Marshall and Kathleen Kennedy in 1981. The company produced many of Spielberg’s movies as well as many other classic films. Throughout the 80s and 90s, Spielberg also began making adult-focused stories. Such as The Colour Purple, Schindler’s List (which won the best picture oscar) and Saving Private Ryan, among others. The prior two won him Best Director Oscars. Additionally, in 1993 his film Jurassic Park revolutionised CGI implementation in movies. And he created DreamWorks Pictures in 1994 with Jeffrey Katzenberg and David Geffen.

2001 saw Spielberg release A.I. Artificial Intelligence in tribute to his friend Stanley Kubrick. And, at the time of writing, since 2002 he has directed 14 critically acclaimed films in varying genres. All this work has made him the most financially successful director of all time.

 Spielberg’s Style

Several recurring themes and cinematic techniques have become trademarks of Spielberg’s filmography. His stories often showcase ordinary people in extraordinary circumstances. And often focuses on how parents, affect their children and sometimes themselves. These elements make his films feel more grounded and relatable.

Spielberg also loves moving his camera. Whether it’s a smooth dolly shot, shaky cam or sweeping long takes Spielberg’s films use active cameras to make the audience feel more involved. Spielberg also uses the camera to express a character’s perspective. Either directly, through POV shots, or through perspective shots designed to elicit a feeling in the audience similar to what the characters are feeling. His films also often have reflections as a thematic/dramatic element and feature bright colours and light to draw the audience’s attention to a specific point and emphasise something mysterious.

Spielberg’s Best

So what are Spielberg’s best films?

Duel

A tight thriller with effective simple characterisation and masterfully tense direction.

Jaws

A horror masterpiece elevated by John Williams’ terrifying score, brilliant camerawork, and Roy Scheider’s, Richard Dreyfuss’ and Robert Shaw’s fantastic performances.

Raiders of the Lost Ark

Harrison Ford is a perfect hero, the plot is fun, the score iconic and it features some of cinema’s best moments.

E.T. The Extra-Terrestrial

A touching story, great child performances, brilliant effects and a beautiful score. E.T. is cinematic magic.

Catch Me If You Can

A brilliant character study and the perfect amalgamation of escapist fantasy and grounded adult storytelling.

Also Read: Quentin Tarantino Directing A Star Trek Film? Here’s What It Would’ve Been Like

Your contribution to Big Picture Film Club will allow us to continue to produce content. No matter the amount your contributions are greatly appreciated.

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What is Netflix Doing?

This past year, Netflix announced two initiatives to facilitate filmmaking growth across sub-Saharan Africa. Firstly, they announced the short film competition African Folktales, Reimagined. Made in partnership with UNESCO. The competition allowed filmmakers across various African countries to pitch short film ideas focusing on telling classic cultural tales with modern twists. The competition’s winners would then receive a $75,000 budget and training to produce the films. With Netflix releasing the finished projects in 2022.

And the company also detailed plans for the new Netflix Creative Equity Scholarship Fund. Which will offer scholarships for film and TV students across the continent. Initially, $1 million has been contributed. This money goes towards helping media students with tuition, accommodation, course material, and living expenses during their studies. It begins operation this academic year in South Africa. Students from the South African Development Community wanting to study there were also eligible. Netflix plans on rolling the scheme out to more parts of Africa soon.

What Does This Mean For Film Makers Across Africa?

As with Netflix’s prior investments into international markets, this represents a great opportunity for emerging and established filmmakers. Netflix’s scholarship program can provide underprivileged media students with the ability to pursue education in their chosen fields. Additionally, the short film competition and the drive for more content generally, allows creatives old and new the chance to have their work seen on a platform with a huge reach. Not only showcasing their talents to worldwide audiences but increasingly across the continent itself.

With the schemes covering a range of countries and cultures, it will also allow the countries of Africa to be shown in their diverse glory. Rather than being shown as a monolith, as many Western films portray the continent. And these efforts to help develop Africa’s creative industries could lead to the creation of 20 million jobs. And kickstart a thriving film industry, thereby ensuring more opportunities for years.

However, there are some concerns. Because Netflix is a business it will be aiming to showcase projects that will garner wide interest. Meaning potentially culturally interesting ideas might not be presented. Instead, Netflix may favour appealing to the largest possible audience. For example filmmakers like Imoh Umoren claim streaming services are primarily looking for English language content in the region. Therefore providing a rather shallow view of various African cultures and art. As well as excluding a lot of artists. Finally, with Netflix only investing a small amount of money in the region (a fraction of what it invested in South Korea), the venture feels comparatively half-hearted.

Conclusion

Netflix’s bid to kickstart new opportunities for African filmmakers is a promising one. Providing creatives with the ability to make content for their renowned platform will give them attention internationally and within Netflix’s budding subscriber base across Africa. And scholarships for media students in the SADC region allow new creatives to pursue their passion. Along with potentially creating demand for millions of new jobs. However, Netflix’s current strategy needs some work. To avoid reducing the continent’s unique, diverse art and its hard work solely to a tool for Netflix’s advancement with international markets.

Also Read: Netflix and The Success of South Korea

Your contribution to Big Picture Film Club will allow us to continue to produce content. No matter the amount your contributions are greatly appreciated.

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Whilst self-isolating, social media has indeed come in as our best friend to save the day, in ordering our shopping list, to catching up with granny.

I have spoken as an expert speaker at Parliament for social media. On one hand, yes it needs to be used wisely as it can impact one’s sleep, anxiety, exercise, and self-esteem to name a few. However, it can be an excellent tool for connecting with others that you wouldn’t normally come into contact with, with a supporting platform for those that have autism that can find typical face to face contact difficult.

For a filmmaker, I think it is a unique opportunity to showcase your work, almost free publicity if you will, which anyone in this industry will appreciate. Gone are the days of posters, or leaflet giving, but now one click can reach millions. It has certainly been as asset to many celebrities in endorsing their products. A strategy of technology that can contribute so much to a filmmaker.

I worry though, as with all social media, that despite it being an effective communication tool for filmmakers connecting to the industry at a tip of their fingers, that it could also downplay just how difficult it is in fact to create a film.

This is exactly what I spoke with David Yorke, an award-winning filmmaker. David, I met only last month at a film festival, which already feels months away due to lockdown. I was drawn to one of his films, in particular, named Safekeeping. It is a story that was originally created when David entered a competition about the world ending. What he made, I feel was tragically beautiful on the screen. It certainly is a film that one can take away a lot of messages or interpret in many ways, which I discuss with David. I personally felt drawn to the themes of abuse, palliative care, love, attachment, and loss. I won’t say too much, in case you have not watched the film, but for me, it resonated, possibly due to my work in mental health, with the exquisite location in a large field- some of my favourite scenes in this field.

I see David’s Instagram and I congratulate on him on the recent festival wins, and he candidly speaks about how Instagram shows only one aspect of his career, however not the hard work behind the scenes. I ponder on this, as he is absolutely right. For a moment I have been swept with the limelight social media can portray into someone’s life of just looking at the best-taken photos, but not actually what that individual is going through or doing to even get to that point of the picture being taken. We as human beings, get drawn to the attractive object, the good object in our mind’s eye, the power, the money, the trinkets of unattainable wealth, the prestige, the good looking, and even the downright ideal of what we want to be. Essentially conditioning ourselves to believe that if a picture looks perfect, then that person must be living a perfect life.

But being a filmmaker is messy. It means constant drop out of actors, lack of funding, desperately awaiting emails for location, and the need to be accepted to festivals for recognition. It certainly is not the edited poster or final edit of the film as we see as the audience.

Social media reminds me of exactly that: the poster of the film. It is the edited version of our work, our work meaning our life in this context. But what we fail to show is the bloopers, the slips, the pick me ups, the tears, and the laughter through the exhaustion.

I hope as filmmakers, we remember that of course, it is about the final product, the final edit, but to remember the process of achieving that, and to remind one another on social media how we admire this process and not just the edit.

Also Read: Interview: Dr Parvinder Shergill Talks Mental Health & Movies

This article was originally published in www.thesecretpsychiatrist.com

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On the 17th December 2018, London-based writer / director, Tomisin Adepeju held a screening event which may very well act as a catalyst for a new movement: the rise of Nigerian-British Filmmakers.

The event featured screenings from fellow Nigerian-British filmmakers, Candace Oneyeama & Adeyemi Michael. Following the screening, there was a rich and vibrant discussion on issues related to cultural identity in filmmaking, film funding and connecting with audiences, specifically among the Nigerian & African diaspora communities in the UK.

Comedian, Sir Lenny Henry recently brought a petition to the Prime Minister regarding the lack of ethnic minority inclusion within UK TV (specifically in the writing and production process). He cited that “only 2% of UK television is made by directors from BAME backgrounds” (despite making up 13% of the UK population in the 2011 census). Similarly, ethnic minorities’ employment in the film production sector currently stands at 3%. Will this new wave of Nigerian-British filmmakers help change this around?

We spoke with Tomisin Adepeju and Candice Onyeama within this emerging movement to see what the future holds for Nigerian-British filmmakers.

Tomisin Adepeju

Presh : What is the inspiration behind putting together the event “Re-imagining Nigerian-British Cinema”? What did you feel you got out of the event?

Tomisin: I have been thinking about putting together an event like this for a long time. My own personal growth and development as a filmmaker coupled with my discovery of brilliant work by talented filmmakers like Adeyemi Michael, Shola Amoo, Destiny Ekaragha, Joseph A. Adesunloye, Bola Agbaje, Akinola Davis Jnr (aka Crack Stevens) Candace Onyeama, William Boyd and so many others, undoubtedly confirmed that there was a profound movement that ties all of us together. My primary motivation for putting on the event was to really highlight what I feel is one of the most exciting, cinematic movement that is currently happening in this country. Since graduating from film school three years ago, I discovered that there was a growing crop of filmmakers telling stories that were very similar to the work I was doing, the films they made were directly influenced by their culture, roots and identity as Nigerian-British individuals. The movement is culturally specific but within that exists a broad range of bold, diverse stories that beautifully captures and reflects the Nigerian, Diasporic experience.

Both your short films “Appreciation” & “The Good Son” are culturally-specific in how they deal with aspects of community/family life of the Nigerian diaspora within the UK. How has this approach been received by the diaspora community? And has this response been different to the wider mainstream audience?

Tomisin: I have been incredibly humbled by the reaction of my work by the Nigerian Diaspora community, the response and feedback has been positive. I have really tried to create work that speaks directly to that specific cultural experience. Also, the fact that audiences have reacted so positively has really justified the type of stories I’m telling. It’s wonderful to know that there is an audience that wants to see more films that acutely explore the lives of Nigerians in the diaspora; films that feature characters boldly speaking the languages; Yoruba, Igbo or Hausa. Regarding the response of the wider mainstream audiences, I always utilise the work of one of my cinematic heroes; Yasujiro Ozu as a reference point, his work has been widely celebrated and praised by critics and audiences. He made films that beautifully captured the nuances of his culture and roots, his work celebrated Japanese culture and its way of life, and his stories transcended race and are incredibly relatable. Thus, I feel that if the wider, mainstream audience can relate to Ozu’s stories, they can equally relate to the stories I am telling. One that a viewer can relate to regardless of their culture and background, just like Ozu, I want to tell human stories.

Is there a feature film in the works? What do you have planned for the future?

Tomisin: Yes there is, I am currently prepping my debut feature film which I am planning to shoot this summer, it’s an adaptation of my short, The Good Son (Omo Daada), I am very excited about realising that project. I am also developing several TV projects as well, one of them is a period drama that follows a young middle-class Nigerian man who moves from Lagos to London in 1867.

Candice Onyeama

Presh : Within the U.K we’ve seen Afrobeats music have some mainstream crossover success, however, films & TV programmes exploring British-Nigerian life haven’t been explored in any great depth, why do you think this is?

It’s difficult to pin it down on a single cause but there is a shortage of mainstream films and tv programmes exploring black lives in general in Britain. Also, black screen representation that we do find tends to be monolithic rather than reflective of the rich diversity of African diasporic cultures that make up Britain today. So Nigerian-British, Ghanaian-British, Somalian-British and a host of other African diasporan experiences don’t get the on-screen exploration they deserve. However, the short film and indie landscape is different, with Nigerian-British and African descent filmmakers pushing to get our stories out there with whatever resources we have. We’re taking ownership and telling our own authentic stories of African diasporic Britain and getting it out to audiences through festivals, online, our own curated events, basically in any way that we can and there is an audience for it. So if the mainstream British film and TV industry is really interested in diversifying our screens and catering for a large and ever-growing section of their audience, they’ll have to catch up soon.

In your short film “Once An Old Lady Sat On My Chest” you made an important decision to use a mix of both English and Igbo. What effect does that have on the tone of the film?

In all my films so far including my first film HUSH, I incorporate both Igbo and English. Most diasporans can relate to the feeling of living between two or more cultures not just physically but also linguistically. We often talk about ‘code-switching’, using our accents or languages to navigate different social and cultural spaces, with a lot of us having the ‘home’ language or accent we use with our families. As the protagonists in both my films are Nigerian-British, it was important for me to bring audiences, not just visually but aurally, into their diasporic worlds.

Are there aspects of the Nollywood film industry that British-Nigerians (and British-Africans) as a whole can learn from to improve how those stories are told and released?

Absolutely! I’ve got a lot of admiration for the hustle, boldness and beautiful audacity of Nollywood. Its pioneers are visionaries who were self-taught and with very little resources, managed to transform their dreams to a multi-billion dollar industry. I think that entrepreneurial spirit and daring to think outside the box, without constantly seeking the validation of the industry is something we can definitely learn from in the diaspora. Moaning less would be great too, but I think unfortunately we’re still a bit too British for that.

Another thing about the Nollywood industry is that it unapologetically speaks to its own demographic  – Nigerians – and it works. We need to learn as diaspora filmmakers to start making works that can cater to diaspora audiences rather than fretting about the ‘outside gaze’ and falsely believing our experiences may be too niche to be understood. I’m not from the American West and have never experienced a rodeo but I can tell you what it is from all the Hollywood films I’ve watched – strong human stories will always resonate universally no matter who the community is. I also believe that we are very fortunate as diaspora filmmakers to be able to access two cultures and two separate film industries, so let’s use it.

Making moves

Director, Destiny Ekaragha has also served as a trailblazer for this movement, she’s only the third black woman to have directed a feature-length film that was given theatrical distribution in the UK. This was for her 2014 British-Nigerian comedy Gone Too Far.

Filmmaker, Adeyemi Michael has found recent success with his short film Entitled, which was commissioned by Channel 4. The London-based filmmaker has most recently held an exhibiton screening of his film in Lagos, Nigeria. Highlighting what can be achieved by having access to both Nigerian and UK audiences.

Shola Amoo released his debut feature A Moving Image in 2016. Shola’s second feature film The Last Tree, which debuted at the Sundance Film Festival, has already been picked up by Picturehouse and will be released later this year. The film is a coming of age drama following a British boy of Nigerian heritage as he moves to London.

Whilst there is still a long way to go to in truly breaking through the “glass ceiling”, this crop of Nigerian-British filmmakers are a welcome sign of the positive change that’s happening within the UK film industry.

Moving forward…

As part of its global expansion, Netflix is investing in both original programming and internet infrastructure in Africa. And with Nigeria’s Nollywood being the second largest film industry by volume (3rd by revenue), it seems likely that they’ll be an increasing demand for filmmakers who can appeal directly to the burgeoning Nigerian and Pan-African film markets, but also whose work can tap into the African diaspora both in North America and Europe. This means this movement of Nigerian-British filmmakers are in a position to potentially take advantage of upcoming changes in the Streaming Video On Demand (SVOD) sector. Particularly with the emergence of Disney+ & Apple TV+ streaming platforms companies will need to become more inclusive in their programming to remain competitive.

Also Read: Netflix Expands Into Africa With New Initiatives For Filmmakers

Your contribution to Big Picture Film Club will allow us to continue to produce content. No matter the amount your contributions are greatly appreciated.

The post The Rise Of Nigerian-British Filmmakers appeared first on Big Picture Film Club.

One of only *three* directors to have screened two of their films at our Film Club events, we catch up on what he’s been up to since. Diving right into it, we explore the process of making feature lengths, the importance of cinema and his top 5 favourite sci-fi films.

Read about Mark’s Top 5 favourite sci-fi films here. Listen to the full podcast here.

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