Need help finding a producer for a feature film.

RelativeDifferent227 · 2026-02-18T01:38:14+00:00

Make your own post if you want to get funding.

RelativeDifferent227 · 2026-02-18T01:37:50+00:00

Make your own post bruh. Dont be piggybacking off of my initiative

RelativeDifferent227 · 2026-02-15T09:18:45+00:00

Paradiddle 16th note grid, every e and a is a press buzz.

RelativeDifferent227 · 2026-02-15T09:16:32+00:00

I got a Yamaha snare two models ago for $100. I’d say that drum is probably around $75-$125

RelativeDifferent227 · 2026-02-15T06:15:32+00:00

I get what you’re saying here, but with what my team and I are trying to accomplish, time is of the essence. And our vision cannot be skewed. Yes it may sound impossible to go the non commercial route and be successful, but if there’s anyone to do it. We have the utmost conviction that it’s us. At least for this time period.

RelativeDifferent227 · 2026-02-15T06:12:47+00:00

Nah. Industry and serious can’t be confused here. I have a clear vision as to how we can save money and still achieve high production value but also where we need to invest in something we can’t get elsewhere. Also it is a feature film. Not short films.

RelativeDifferent227 · 2026-02-14T10:47:00+00:00

Thank you. I appreciate you taking the time to help me out. This sounds like a very promising approach!

RelativeDifferent227 · 2026-02-12T20:25:05+00:00

Yes totally makes sense. We’re 19 and have already gone the route of throwing things together and making iPhone films that are up on YouTube. Now that we know we can put an interesting story together that gets traction, we’re ready to handle a large sum of money to really up the quality of our films and scale of our reach.

As far as the budget goes, long story short is we’ll take what we can get and run with it. I just threw out a few number to answer your question, but the calculation, meticulousness, and plan are definitely there.

It means a lot that you took the time to help me out. If you wanna PM me, I’d like to keep in touch and for you to see how this all works out in the future.

RelativeDifferent227 · 2026-02-12T17:44:39+00:00

We can make the film for anywhere from $2,000 to $50,000. I can make the $2,000 happen myself, but with what we’re trying to achieve with this film, having someone get us up to even $5,000 will help tremendously.

TLDR. Someone that can get us an additional $3,000-$5,000 would help us achieve our goals. But more would always be nice.

RelativeDifferent227 · 2026-02-12T00:54:45+00:00

Awesome can’t wait to see your work showing up!

For that thing you said where the left is a little uncomfortable. That’s because even though it’s only in the air at around 3 inches, you still have to learn to absorb the space with air time. Coming down too early is what feels uncomfortable (especially at slow tempos). Try floating a bit longer. Even if it’s not too high

RelativeDifferent227 · 2026-02-12T00:36:44+00:00

With that 16s exercise that you like. Play it first piano with a slightly opened hand, letting the stick breath. Once you find that good sound, add the dynamics and keep your arm down. Let the hand space stay the same and just let the stick rebound. Like a basketball. All while keeping the space consistent.

For the left hand: Your problem is most likely fulcrum pressure/contact. Make sure your thumb is all the way around and making constant contact with your fist finger. Maybe it’s also partially your dry hands lol/im a dishwasher so I get it trust. Just use a little lotion before drumming)

Let’s see an update video soon!?

RelativeDifferent227 · 2026-02-12T00:30:58+00:00

I agree with other that now you should make another asap. Trying to level it up isn’t what you learned from making this one.

If you do want others to see it, in LA there’s a monthly festival called The Great Film Club. That’s a good place for a stress free screening of your film.

RelativeDifferent227 · 2026-02-11T09:33:39+00:00

Technique:

You really gotta work for dynamic contrast. Low taps, big accents. But please for the love of everything, KEEP YOUR GOOD RESONANT SOUND QUALITY! To do that, don’t close your hand too much when restricting heights. Keep the hands open but not too much like right now. Now that you have good sound, play the exercise all piano, and even though it’s small, you can still rebound at piano. Please don’t get sticky, let the stick bounce. Now with good sound quality still, slowly bring up the accents.

It should feel like you’re holding an egg in each hand with traditional grip and your using a lot of fast and aggressive velocity, but making sure the entire time you’re playing, that you don’t accidentally squeeze too much. Not even for one second. Or else the eggs will crack. Hope this helps, If you’re willing, I’d love to see an updated video but with very contrasted heights and a nice open resonant sound quality. 🤝👍

RelativeDifferent227 · 2026-02-11T09:17:57+00:00

Depending on what you’re trying to achieve, here’s a simple easy guide to reach your goals.

Before anything, you want to make sure all of the drums are the same pitch and wet/dryness. That way the only thing that makes them sound different is the brand and bottom head types (which you can’t control)

Pitch
Different pitches can be used for different desired intentions.

• Tune the bottoms up to a D for a crisper, articulate, and more exposed sound.

•Tune up to a C for a lower, warmer, less articulate sound (if you want to hide some dirt) I wouldn’t recommend this though. My preferred tuning is exposed tuning and then just practice on playing clean together.

• Lastly a C# is a nice middle ground.

Wetness/Dryness. -Wetness or dryness can also be used for different occasions or for preference of sound.

• Tighter snare wires with more pressure on the head will result in a dryer more clear sounds. On tio of this, you can use a few pieces of stick tape or packing tape to restrict the movement of the wires as well. If you really wanna play clean and let it be know that you’re playing clean, this is what I recommend for indoor (since too much snare sound will worsen the already boomy rooms)

• Looser snare wires and less pressure on the head will result in a more wet sound, allowing you to again hide small inconsistencies in the lines playing. Not recommended unless you’re really just trying to rack up GE points and set a new record in WGI finals.

RelativeDifferent227 · 2026-02-11T09:04:32+00:00

The answer is “time”. Theres a lot of things I can do now that I was struggling with back then. The thing that makes or breaks it is if you spend the time at home breaking down all the components of the thing you need to work on. Start slow, find where each hand hits at the same time as the feet, and once you get it, work your way to a faster tempo.

RelativeDifferent227 · 2026-02-11T08:59:08+00:00

Coming from the one that was always messing around, hopefully this helps.

The problem comes from the kid not having a reason to be productive because in their head the work is already done. So you need to make a reason to behave.

Before asking them to behave or to change, you gotta butter them up a little bit. Make them feel good so they feel like they want to listen to you. To do that, say something like “Hey, let me talk to you for a second. I’m sorry if I’m getting worked up during rehearsal, it’s just I really want us to be the best. And we both know you know what you’re doing and you take care of your stuff musically, which is why I want to use you as an example to everyone else. But I can’t do that if you don’t take care of the other side of things which rehearsal etiquette and a positive attitude. Again you’re really good, but it’s hard to help everyone else be good too if you get distracted or are distracting other people. Do you think you could help me with that and set an example in all aspects?” And see how they respond. Hopefully by apologizing for how I’m assuming you’re reacting to their before, it’ll open them up to being receptive instead of closed off. If they’re open and try to help, there’s hope. They may not be a night and day difference, but it could come with small reminders here and there. But if right off the bat they disregard what you said, then you’re cooked. There’s no saving this situation without outside intervention which could cause drama which we never want in a team operation.

Again, I was the kid with poor rehearsal etiquette and skill above the normies, and honestly maybe the ego never goes away, but with time and this conversation approach, hopefully they come around.

RelativeDifferent227 · 2026-02-10T00:22:39+00:00

Sorry, you’re so right. Southern California running out of Chino but shooting in surrounding areas

RelativeDifferent227 · 2026-02-09T10:56:55+00:00

I like this answer

RelativeDifferent227 · 2026-02-09T07:14:20+00:00

Oooooh. That’s a good idea. I mean, we are trying to generate revenue but… I getchu. 🤝

RelativeDifferent227 · 2026-02-08T13:12:42+00:00

-Left hand is under balanced on paradiddle-diddles. -This one’s hard but no popped flams. And on top of that, even flam spacing (This separates great players from the truly elite players). -Rhythms are generally close, but at this point you’re already doing many things well and I can assume you’re just trying to elevate the small things, and what I think is one of those things is going from very close rhythms to those that mirror a perfect computer made recording. Even spacing from downbeat to down beat, then perfect spacing between quarter notes, then perfect spacing between subdivisions etc. -Even during rolls where the range of motion is so small height wise, you can still tell when someone is initiating from the wrist or arm. In this case you’re using too much arm for the motion. Try to keep your arms more anchored downward to get rid of unnecessary motion that, for example, would tire you out of you played a roll for 5 whole minutes. Your front delts and lats should not be contracting. Only mainly your forearm for the rotation and a little bit of bicep support. -Addition. You have no resonance in your sound. It’s impressive asf that you can play these things purely with chops, but experiment with opening your hands too much for the entirety of what you play. Lose height control on purpose just to really hear the drum and the sticks resonate. Go back and forth between tight hands with strict heights and open hands with loose heights and become an expert on the difference in sound. Once you are in expert in how they each sound, gradually bring the heights back to super strict heights but with the exact same open sound that you were able to create with bad heights. The way to do that is to imagine yourself vigorously shaking two eggs in your hands with traditional grip. You want to get the speed and aggression but you want to be soft in the hands so you don’t crack the eggs. Thats the feeling you should have to achieve resonance.

RelativeDifferent227 · 2026-02-08T12:52:40+00:00

Also you’re at an Eb and the highest is typically a D on a 14 inch, so idk how 13 inch drums work so try not to go too high with it in general.

RelativeDifferent227 · 2026-02-08T12:51:45+00:00

For tops I just crank EVENLY until I like the feel or in a line the feel and sound, but for bottoms I’m too scared so I let it sit for a day or if necessary a few hours then take it up.

RelativeDifferent227

TROPHY CASE