One short lesson and one thing to go out and film, every day for fourteen days. Built entirely around the phone you already carry — no rig, no studio, nothing to order first.
Courses in this bracket usually run $297 to $997
Plans start at $25
Introductory pricing while the first hundred places last. It goes up afterwards.
That isn't a lack of talent. It's a lack of order — nobody ever handed you the steps in a sequence that builds on itself.
Flat colour, hard light, a wobble you can feel. Something is off in every clip and you have no vocabulary to name it — which is exactly why you can't correct it.
Thirty bookmarked videos, each one a disconnected trick. You relearn the same basics from five creators who contradict each other, and none of it stacks.
There's a camera sitting in a shopping cart you keep not buying. The phone already in your pocket records 4K. Nobody has shown you how to drive it.
Watching is comfortable and feels like progress. Nothing actually shifts until you press record — which is why no day here ends without you filming.
Every technique in this course exists somewhere online, free, right now. That is precisely the reason most people never get better.
The material is endless and it arrives in no particular order. You pick up white balance on a Monday and a lens trick a month later, and the two never meet. What you're left with is trivia, plus a camera roll that looks the same as last year's.
Craft comes out of sequence and repetition — the right lesson at the moment you can use it, followed immediately by doing the thing yourself.
"Nobody improves by watching. You improve when something decides what you learn today and won't let you move on until you've filmed it."
That's the entire design. Fourteen short lessons, fourteen filming tasks, in an order that compounds. At the end you're holding a finished piece of work instead of a folder of notes.
Every day: a short lesson, then one task you film yourself. You end the fortnight with footage, not notes.
Resolution, frame rate and shutter speed — what each control really does to the picture, and the quiet price of leaving the stock app on its defaults.
Your taskFilm the same ten seconds four ways and watch the difference appear.Locking focus and brightness so the shot stops pulsing mid-take, and reading a room before you lift the phone at all.
Your taskOne subject, three unforgiving lighting situations.What ultra-wide, main and telephoto each do to a face and to a space — and why digital zoom quietly destroys the image.
Your taskThe same subject through every lens, framed identically.A five-step setup that lifts almost any shot inside a minute, plus depth, breathing room and the spot a viewer's eye goes to first.
Your taskCopy three compositions out of a film you love, shot for shot.The five moves that cover nearly everything, handheld that reads as deliberate rather than nervous, and an honest answer on gimbals.
Your taskOne subject, all five moves, one after another.Reading light before touching a setting, softening hard light with what's already in the room, and treating a window as a full kit.
Your taskOne face, three lighting setups, nothing purchased.Why an audience forgives a soft image and never forgives bad audio, how to get clean sound with the phone alone, and what's worth buying later.
Your taskRecord the same sentence four ways and hear the gap.An order of shots that turns even a dull subject watchable, first frames that survive the opening three seconds, and filming with the cut already in your head.
Your taskBuild a whole story out of six shots and nothing more.A ten-step order of operations, a way of filing footage that stops editing being painful, and an honest look at phone versus desktop.
Your taskA first cut, using what you filmed in week one.Where a cut belongs and the beat that makes it land, tracking down music you are genuinely allowed to use, and transitions chosen for the story rather than the effect.
Your taskTake one pile of footage and cut it against two unrelated tracks.Correction before style, the single thing you must never break — skin tone — and applying a LUT without flattening the picture into mush.
Your taskPush one clip through three grades and keep the one that isn't lying.Composing for 9:16 from the first frame, keeping faces out from behind the interface, and captions designed into the shot instead of dropped on afterwards.
Your taskOne idea, cut for vertical and for wide.Collecting references in a way that trains your eye, taking influence from work you love without reproducing it, and settling on what you are not going to film.
Your taskPut your own style on a single page and commit to it.Scoping a shoot small enough to finish before dark, the full run from brief through to export, and the settings each platform wants so nothing degrades on upload.
Your taskDeliver a finished sixty-second film. This one is your portfolio piece.Everyday Cinema opened recently. We could paste in a wall of five-star quotes under invented names — it takes five minutes and plenty of pages do it — but you'd have no way to verify a single one. Two things you can verify instead.
Scroll back through the fourteen days and read them again. That's the actual promise, and right now it's the only part of this worth judging.
It works very well for some people and is a waste of money for others. Both lists are honest.
A single payment, never a subscription. The complete fourteen days is in every plan, permanently.
single payment · yours for good
The full course, with nothing held back for a higher tier.
single payment · yours for good
The course plus the files that cut time off every shoot.
single payment · yours for good
All of the above, plus people going through it alongside you.
single payment · yours for good
For when the group isn't the point and you want your own footage looked at.
single payment · yours for good
For when you need someone to name precisely what's wrong.
single payment · yours for good
Hands-on help, for the few people in a hurry.
single payment · yours for good
One to one across a full quarter, for very few people.
Do the assignments. If what comes out of your phone hasn't visibly changed, write to us within thirty days and the whole amount goes back. Everything you filmed is still yours.
Not one thing. If your phone records video, that is the whole requirement. Day 3 covers equipment honestly — what genuinely repays the money later, and what beginners buy and regret. The fortnight can be finished without spending another cent.
Both. Light, framing, movement, sound and story are indifferent to what you're holding. Where the menus diverge between the two, you get both sets of steps.
It is written for precisely that person. Day 1 assumes you have never once opened a camera app on purpose. Each day leans on the day before — the one thing a pile of separate tutorials cannot do for you.
It doesn't. A fortnight is the rhythm we suggest, not a deadline, and your access never expires. Plenty of people stretch it over a month or two. The one rule worth keeping is that every lesson ends in an assignment.
About a quarter of an hour of lesson, then twenty to thirty minutes out filming. Most days land under forty minutes altogether. Day 14 runs longer — there's a film to finish.
Honestly, yes — all the information exists. The order doesn't. You'd lose months stitching it together, picking up the same basics from people who disagree with each other, with nothing to tell you whether any of it stuck. What the money buys is order and reps, not secrets.
The whole amount comes back, any time inside thirty days, with nothing to justify. Do the assignments and judge this on your own footage: if that hasn't moved, neither has your money.
By email, within a minute or two, to whichever address you pay with. If nothing shows up, check spam first; if it isn't there either, write to us and we fix it quickly.
Everyday Cinema is published by Redhaven Properties, LLC, a Florida company at 1460 Cassat Avenue, Jacksonville, FL 32205. The address, the phone number and the email sit at the bottom of every page here, and a purchase shows on your statement as REDHAVEN PROPERTIES.
By the end you will either have watched a few more tutorials, or be holding a short film with your name on it. The phone is the same in both versions.
Start day one — from $25 One payment · yours for good · thirty-day refund