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At the center of Neighborhood Film Company’s The Cage — the first in our Filmsupply Films series — there is a recurring metaphor of a young man trying to break free of the seemingly malevolent vines that threaten to smother him. A young man fighting against nature. His nature, maybe. Or the nature of the place where he’s from.
“I’ve always made very, very strange films,” Matthew Hannam tells us, a tidy summary of a skyrocketing editing career that has included such genre-bending projects as Swiss Army Man, James White, and the recent Netflix miniseries The OA. “I feel proud having served a smaller audience well, rather than a general audience.” But with the wide critical
Every week, the Saturday Night Live Film Unit team pulls off a not-so-small miracle. They produce, shoot, edit, and broadcast a fully realized short film in less than four days. For their editor Adam Epstein, that leaves roughly one day for post-production. One day. Sometimes less. And you thought your deadlines were stressful. After eight years of
Nobody makes treatments quite like Diego Contreras. In the years since he left BBDO NY, Diego has directed commercial projects for high-profile clients including Lincoln, GE, Reebok, and more. An impressive résumé for anyone, let alone someone relatively new to the game. And while there are plenty of reasons for his success (an insane work
We represent incredible filmmakers. And incredible filmmakers make incredible films. This article is simply a celebration of that fact. Through a two part series — one surrounding advertising, and another surrounding narrative pieces — we’re highlight the best films of 2016 from our filmmakers. There are more people making films today than there ever have been.

We represent incredible filmmakers. And incredible filmmakers make incredible films. This article is simply a celebration of that fact. Through a two part series — one surrounding advertising, and another surrounding narrative pieces — we’re highlight the best films from 2016 from our filmmakers.

In the short film Cooking Up a Storm, edited by Lucas Harger, the process of preparing a meal is imagined as an analogue for a storm. It’s a clever concept, but the execution is what puts this project over the top. The cinematography is beautiful, the sound design is spot on, and the editing is a
What’s the point of being a filmmaker if you don’t try something ridiculously challenging every once in a while? For cinematographer Kate Arizmendi, once in a while happened earlier this year when director Phillip Lopez asked her to shoot an ad for Tyler Ellis’ handbag line that would appear on The ad was set in
Chayse Irvin, CSC, is a renowned cinematographer whose CV spans commercials, short narratives, music videos, and feature films. He has lensed projects for music legends like Kendrick Lamar and Beyoncé — most recently her visual album, Lemonade, which Rolling Stone called visually “stunning.” Here are a few of his frames. 'LEMONADE' [03:08] Chayse Irvin: This frame is from the
Cinematographer Todd Martin is always scouting. Every exotic location he finds himself in, every perfect patch of forest — it’s all being logged on the off chance that such a place will one day come in handy. He was even scouting during this interview while riding a ferry to an island off of Maine. For
The aptly named Zapruder Films operates out of a house just off the trendy Queen Street West in Toronto. With Criterion movie posters plastered on just about every square inch of wall space, shelves of DVDs arranged chronologically, and a Nintendo 64 in the living room, it feels more like a film student’s dorm room than a
Jonny Mass and Edward Khoma of Abandon Visuals believe that someday enough will be enough. Someday the resolution of digital cameras will reach a state of perfection. But while we might not be there yet, we are well on our way. And with RED’s latest innovation, the 8K HELIUM S35 sensor, we’ve never been closer. To test
To Those Who Doubt is a short film shot in ultra slow-motion and set almost entirely underwater. A passion project by the talented team at Evolve, it contains some of the most striking underwater footage we’ve ever seen. The film was so technically challenging, the script (a charge to overcome uncertainty and jump off high platforms)

We spend a lot of time looking through our catalog. A lot. In fact, most of our team has the footage nearly memorized. This makes it so much more amazing that the films you created for the Filmsupply Challenge made us completely forget we were seeing our content. You made it your own, and for that, we applaud you.

In addition to deeper characters and long-form narratives, today’s golden age of television has brought with it some true artistry in the form of title sequences. Gone are the days of actors smiling at the camera during the credits, intercut with clips from the show. In fact, the filmmakers at visual effects studio The Mill
The democratization of VFX is now in full effect. Where once the creation of high-end visual effects took millions of dollars, hundreds of staff, and access to proprietary equipment, it now requires nothing but a laptop, a few free online tutorials, and a lot of imagination. Case in point: Convolv (a.k.a. Zach Zombek), a one-man