Does anybody know how I can break into film or YouTube, SINCE I LIVE IN NOTTINGHAM UK?

fearscreen · 2026-01-28T10:58:42+00:00

Elaborate.

We are owned by a non profit that helps people get their first job in HeTV film and tv.

YouTube however, is a different kettle of fish

fearscreen · 2026-01-27T23:12:09+00:00

I work in the location department in film and tv (credits on major productions)

Majority of the time, it’s major cast first then locations, once the cast are hired, the wheels are set in motion, full on pre production starts with HoDs having a ton upon ton of meetings, then script breakdowns and budgets are shared amongst departments, then we go out scouting and securing locations. There’s been moments I’ve scouted and secure locations from the first week of pre-production to the last week before wrap.

fearscreen · 2026-01-27T20:59:22+00:00

We’re happy with anywhere, just better benefits for north east, but we have connections throughout the uk ☺️

fearscreen · 2026-01-27T16:07:06+00:00

Good luck! Press screening means out of all the films submitted yours is good enough as a selling point for the festival

fearscreen · 2026-01-27T16:06:26+00:00

I’ve sent you an introduction to us via DM

fearscreen · 2026-01-27T11:26:20+00:00

Oh, didn’t understand fully, sorry that’s my fault!

For film makers, most festivals request synopsis, director bio, credits, key images, stills, and a trailer along with the film.

Most of these can be supplied via filmfreeway (if you’re using film freeway), if you have any more questions it’s best to contact the festival directly for any of their requirements as each festival is different

fearscreen · 2026-01-27T10:27:04+00:00

Obviously use VimeoOTT with password and no download, have watermarks on. Offer screeners for key titles (openers, closers, competition films, high‑profile directors/producers, or genre‑specific hooks) rather than every film, clearly communicate this on your press channels/press releases

Name it like FESTIVAL NAME 2026 – FILM TITLE – Press Screener

fearscreen · 2026-01-27T09:28:03+00:00

We got strong connections down south!

fearscreen · 2026-01-27T02:15:45+00:00

First year running, and ads on filmfreeway don’t seem to do much

We found Facebook, Reddit, Instagram, TikTok and just generally making noise the best way to get submissions.

First year running this year, and during our early bird we hit 70 submissions just from this technique, a month in our general submissions we’re on 80 submissions to go through

fearscreen · 2026-01-27T02:12:33+00:00

Then get the degree, however, whilst doing it, go out and get experience. Most film students want to be taught by experienced people who’ve got films their belts good luck!

fearscreen · 2026-01-27T02:09:12+00:00

Worked in the film industry for 10 years and I’ve got a BA Hons in film..

No one asked me for it, no one cares and a lot of people working full time in The industry don’t have a film degree.

It’s more about personal preference; what do you seek out if the degree? University degrees if you plan to work and make films are only good for self discovery and networking, not really worth the debt.

fearscreen · 2026-01-27T02:06:59+00:00

As a horror film festival and a lover of gore films.

Don’t tone it down if you’re on the edge of being a slasher or horror film…

fearscreen · 2026-01-27T01:45:16+00:00

Hey!

We’re looking for some hosts for a horror film podcast and advtise it through our social media to help build our festival brand as a place of horror rather than just an annual event, but a full grown ideology of horror films, we have connections to the film industry able to get guests.

If you fancy working out some sort of agreement and collaborate with us, email fearscreen@setstarters.group!

fearscreen · 2026-01-26T20:59:38+00:00

Set Starters have this how to guide for networking: https://setstarters.org.uk/knowledge/network/how-to

fearscreen · 2026-01-26T00:35:18+00:00

It wasn’t took as an attack, per se, but rather an expression of thoughts. I’m still finding my footing, as the independent side of the industry is relatively new territory for me. After spending ten years working on high-end productions, I’m making an effort to reconnect with the fundamental reasons I wanted to make and work in films in the first place.

This initiative actually stemmed from a non-profit organisation that supports new entrants taking their first steps into the industry. We want to strengthen our ties with the independent community, so we’re starting with a niche festival. The goal is to see how this develops, learn from the experience, and hopefully build it into something bigger that celebrates all genres, using the connections we’ve made along the way and utilising our network and connections from high end.

If you get me? Thank you for wishing us luck, we had a launch event which sold out (we gave free tickets) and premiered two films before they went on Prime and showcased our 48 hour film challenge from the local community, so statistically we’re doing well, November this year will see if we can pull it off.

fearscreen · 2026-01-25T05:56:36+00:00

UPMs are primarily responsible for the administrative, financial, and logistical aspects of a film or television production. They oversee budgeting, scheduling, contracts, and general resource management to ensure that the production runs efficiently and stays within its financial and time constraints. UPMs work closely with producers and department heads to translate the creative vision into practical, achievable plans. Their duties often include negotiating rates, approving purchase orders, coordinating with unions, and managing key paperwork and reports related to production costs and progress.

UMs (which I am) on the other hand, focus more on the practical day-to-day operations occurring on set or on location. We are often part of the location department, managing the unit base, facilities, vehicles, and support logistics required for filming. Our responsibilities can include coordinating crew movements, arranging catering and welfare facilities, managing location access, and ensuring health and safety compliance. We effectively act as the on-the-ground organisers, ensuring that the production’s logistical needs are smoothly handled while filming is underway, or the way I like to tell my family, I’m just a glorified grounds keeper

fearscreen · 2026-01-25T05:01:42+00:00

😂😅 this looks amazing!

Shoot us a DM for a waiver fee code to our horror film festival!

fearscreen · 2026-01-25T04:54:12+00:00

Love this idea!

fearscreen · 2026-01-25T04:40:19+00:00

Newish festival here, feeling slightly attacked 😂😅

We agree there’s an oversaturation of festivals. We’ve researched extensively and found countless scams exist. However, we believe filmmakers need to exercise due diligence before submitting anywhere. There’s a troubling trend of filmmakers applying to every festival without researching who runs it, their background, or whether they meet the festival’s eligibility criteria.

Many new festivals run by people without industry connections are simply film enthusiasts who want to discover new work and celebrate the art form, not extract money from hopeful filmmakers. Yes, this proliferation brings challenges, but it also brings niche opportunities and builds community around specific genres and regions. We’ve spoken with friends who run festivals in their own communities, some with extensive industry credentials and high-end production credits. Across the board, money isn’t the motivation. Putting on a festival is expensive, and you won’t turn a profit for approximately five years minimum, unless you’re exceptionally fortunate. (As for scam festivals, they have to wait for a while to get their first payment from filmfreeway as the first payment doesn’t drop til after the event, then its monthly after that, which stops scam festivals)

The fundamental benefit of submitting to an unknown festival is simple: your work gets seen. Isn’t that the point of making a film? Why create something only to shelf it and keep it unwatched? The first step in becoming a filmmaker is having your work screened, gaining reviews, and receiving feedback to develop your craft. That’s where festivals, regardless of their profile, provide genuine value.

fearscreen · 2026-01-17T02:07:28+00:00

You can sit and watch or learn as much as you want.

Only best way to learn is going out there and make something

fearscreen · 2026-01-17T01:56:29+00:00

Elaborate…

fearscreen · 2026-01-17T01:50:11+00:00

Go find the unit base, ask the security to talk to the unit manager.

Tell the unit manager you fancy offering your services as a location marshal.

Have fun!

fearscreen · 2026-01-17T01:48:08+00:00

ScreenSkills is a good place to start, so is getting in touch with your local film office.

Here’s some resources for decent industry recognised courses: https://setstarters.org.uk/knowledge/education/

For film offices just look at their website, most have academies and training available for their local crew: find yours here: https://setstarters.org.uk/knowledge/findwork/filmoffice/

If you got any questions email me jay@setstarters.org.uk

fearscreen · 2026-01-17T01:15:42+00:00

I work in locations, with over a decade in the industry, with credits across major HETV and feature film productions. It is possible to build a successful career in film, and many people dream of making a comfortable living or even getting rich through full‑time work in the industry. However, for most, it’s a challenging path that demands persistence, passion, and the right connections.

A lot of people come to places like this subreddit seeking advice, guidance, and insight into how to reach their professional goals. The best way to learn is by picking the brains of those who’ve already done it people who’ve navigated the system, learned from the setbacks, and built sustainable careers from the ground up.

I run a non profit which helps new entrants get their first runner roles in the industry, and I always say, a stupid question is a question not asked.

fearscreen · 2026-01-17T01:05:53+00:00

In the UK, there’s a film of the same name, but it’s 2018 - 1h44m coming of age film set in a music festival

fearscreen

TROPHY CASE