Vimeo – A strategically friendly platform and much more…


I’m sure that many of you are aware of the video platform that goes by the name of Vimeo. More and more people are flocking to Vimeo everyday for trustworthy video hosting, not just filmmakers, but also businesses who care about how their videos stream. The definitive advantage of Vimeo being that it will automatically play your videos back in HD without having to navigate to an obscure icon which most people are completely idle to (YouTube). I used to be an avid YouTuber and couldn’t understand why anyone would want any other platform. YouTube apparently has the SEO advantage (being owned by Google helps) and most people, no doubt, head straight to YouTube to search for videos. However, Vimeo has proved incredibly efficient in terms of workflow, it’s far more user friendly in terms of set-up, uploading, networking, navigating, marketing, researching – I just find the overall aesthetic of Vimeo is far more inviting.

Aside from the above rant, Vimeo has a great creative team who care about there fellow videographers. They host specific lessons on the craft and invite members to participate in challenges, the most widely participated challenge being the Vimeo weekend challenge. The briefs are always innovative whilst being loose enough to let anyone’s imagination reign free. Of course, turning out a video in a few days is a challenge in its own right, but on those weekends where you have nothing better to do, it works perfectly. Also, note that the videos can only be up to a minute in length.

So, check out what Vimeo has to offer if you haven’t already and get your beautiful videos on the platform (of course, having them on YouTube too won’t harm your SEO)!

Below are videos I’ve made so far under the Vimeo weekend challenge briefs – these are all videos I’d never have got round to making if it weren’t for Vimeo’s initiative to get its members out shooting more content!


Hot or cold:

A certain hue:

One second shots:


Max Cohen Migraines

My favourite films I’ve seen this week are as follows:

Short – Super.Full. (Niam Itani)

Narrative – Pi (Darren Aronofsky)

Documentary – Zelig (Woody Allen)


Super.Full. is a beautiful segment in the life of a poor deaf couple who are chasing a dream. The husband – a gas attendant – promises to take his newly wed wife out to a fancy hotel for her birthday. It is an extravagant outing for the couple, and is therefore a great accompslishment when the husband fulfills this promise. It is touching to watch and you can’t help feeling proud for the couples ability to lead a happy life. Watch the film below:


I’ve been a huge fan of Darren Aronofsky’s Requiem for a Dream since first encountering it a few years back. It was one of the most gruelling and captivating films I’ve ever seen and it remains stapled in my top 10. Of course, Black Swan was another gem of exquisite essence and bewilderment. But, I decided to fondle back to where this extraordinary flair all stemmed from and found Pi – Aronofsky’s debut feature film about a paranoid and obsessive mathematician looking to crack the code of nature with number theory. The film is far more than this however, and explores lifestyle, identity, mental health, fraud, religion and philosophical themes. The cinematography is astounding and almost obtrusive with its electric black and white grading and negative aesthetic. Style alone is enough to sit through this movie, though all of us can identify with Max Cohen’s numbing frustration. Even if we aren’t mathematicians, the mood is relative to all subjects and, in fact, life itself.


Woody Allen is remarkable. Here, he creates a documentary (mockumentary) out of a man named Leonard Zelig who can literally look and act like whoever he’s around. This includes, becoming a doctor, a golfer, a fat man, mixed race, a musician, a lawyer, just about anything! Of course, Allen weaves a love story into the film, the female lead played by an honest and elegant Mia Farrow. The film gains its realism from startling images of Allen posing next to famous figures. The images of which are superimposed using bluescreen technology. It is a brilliant laugh-out-loud film, but don’t take it too seriously!

The Limelight Index: Patrick Chapman – Artist/Director


I recently caught up with Patrick Chapman, an artist turned filmmaker from Los Angeles. Patrick has recently completed his first feature film PHIN and is now working on his second feature ToY. We chatted about his inspirations and how he goes about the filmmaking process. Here is the interview:

Hi Patrick, when did you first get passionate about film?

I was in college doing an art major and found that I wasn’t learning much, so I was spending a lot money paying for something that didn’t seem worthwhile. I started watching a lot of movies with my friends, and the college had a pretty good film department, so things fell into place and I gradually switched over to that. I got really lucky, because I’d be painting houses right now if I got an art major, instead I get to make beautiful films.

Your background is in painting; does this influence your filmmaking?

Definitely. I like to make a lot of films about artists, similar to David Lynch’s stuff. It definitely helps with the cinematography and processes of that nature. You can both be a writer and be a good storyteller, or you can be a cinematographer and have a really interesting vision.

So you’d describe your style as prominently visual?

Yeah, I’m definitely an artist. But, of course, I do depend on other writers to help me build my story.

Am I right in saying, your new project is co-written?

Yeah. My twin brother helped me on my first one and now I’ve got Andrew Hanson helping me on my latest. I also have a bunch of other people who look it over. You always give out your scripts because it’s the best way to have a lot of feedback, especially in film. If your doing art, that’s one thing, but when you’re doing film or television you need a lot of feedback.


Could you tell us a bit more about your latest project?

Yeah, my latest project is called ToY and it’s about an individual artist who’s just doing regular artwork and its not getting her anywhere. She searches for new models and comes across an online escort service, which interests her and she goes into interviewing escorts. She meets an escort in particular, an ageing 45 year old at the end of her career. The artist wants to make an art installation around this character, but ends up falling in love with the woman. It’s very Leaving Las Vegas; it’s two twisted souls learning about each other’s life, one gets ruined, and the other doesn’t.

Does your storytelling come from a personal background?

Yeah, I definitely twist that into my characters. For this next one, I don’t exactly have the experience of lesbian love in my background. But, thanks to people on the creative team, I have been put in the shoes of two women in love, which has been quite interesting. ToY’s COLLEGE and PRO have a unique mix of softness, tumultuousness and passion to their relationship, a raw vulnerable kind of love. Their love is fascinating and fresh to me.

Which filmmakers do you look up to?

I would say mostly David Lynch, his stuff is always great. The Coen Brothers are also great, but Stanley Kubrick is probably my favourite. He was a photographer at first, so he has a similar path to me, coming from the art angle. I find his work very visually stimulating and interesting, A Clockwork Orange and Full Metal Jacket are two good examples.


Do you still have time for your painting?

Filming takes up most of my time, but I’ve been doing personal stuff for the past 3 or 4 years and editing for CBS. Painting comes on in-between each project. Everyone should have a good hobby, whether it be photography, painting, poetry, it’s nice to have something to look forward coming home too.

What’s your favourite thing about being a filmmaker?

I’d say shooting and directing. You work really hard to write the script, raise the money, casting, then actually being on set, when the lightings struck and calling action, this is the best part. It’s seeing the project come alive. Casting is actually fun though, you’ve written the script and now you get to see a load of different actors interpret it their own way. Directors should sit through as many castings as possible. You can write a character and say this is exactly what I want to say, but you’ll always get someone who goes 180.

Have you ever had an actor influence you that you go back and change the script?

Definitely. When we wrote PHIN he was meant to be this very melodramatic character, very serious, but then Eric Frentzel who actually came in and got the part, was all over the place. He had different accents for each character, so we ended up going with his idea. You should change stuff after you see actors do it; you want them to naturally be able to change the lines how they see fit.


Any advice to filmmakers starting out?

I would say, technically, know as much stuff as you can. When it comes down to doing filmmaking on your own, being an editor, or a cinematographer, always helps. Your going to have to do a bit of everything at some point, it will also save you money. Home your skills into one area to start with. It’s always hard to come straight out of college being a director, but if you’re a really good editor or writer, and really focused in, you can actually make money coming out of college. No ones going to be like “Hey, I’m Speilberg”, no one can be like this right after college.

Do you find if you know more about different areas then you can pass on your vision more clearly?

Definitely, but you don’t have to read up on the latest technology, for example the new chip that’s in the red camera. But, knowing your lenses, and your lighting kits is great. So, when I talk to my DP we know what we’re talking about, he is also an editor so he can make good judgments on where to cut etc. You should always have a general feel for everything, but do find one thing to focus on through college and try and get paid at doing it.

Thanks Patrick, it’s been great talking to you.

There’s some really interesting stuff said by Patrick in this interview. I particularly like how he approaches filmmaking from a very visual aesthetic and therefore uses his background to an advantage. Finding a hobby that ties into what you do as a profession is surely an ideal phenomena for all of us. I specifically find photography a great hobby to practice, and as Patrick mentioned, greats like Kubrick have evolved from this background. Anyway, you can find Patrick’s intriguing new film project on the web at all of the following links:

Like ToY on Facebook:
Check out ToY on Kickstarter:
Follow ToY on Twitter:
Visit the website:

Thanks for taking part.