There are no original ideas.
There are no original ideas.
The mystery. The femme fatale. The events spinning out of our hero’s control. All essential ingredients in a Film Noir, and all are present in the Coen Brothers’ seminal stoner comedy, the Big Lebowski. Does that make Lebowski a Film Noir? What is Noir, anyway?
SLR Lounge covers 5 kinds of lighting styles for the key light. Although this is mostly a portrait lighting tutorial – there are lots of filmmaking applications for these types of lighting.
Check out their full written article for this lesson
When it comes to the ultimate production toy – nothing beats the coolness of a Technodolly – check out this piece from Panavision showing off some of the features of this awesome tool.
If you want to make video essays, there’s no better film to study than Orson Welles’ 1973 masterpiece, F for Fake. There are a million lessons to take away from it, but today, let’s see what it has to teach us about structure. NO SPOILERS.
Taking pictures in harsh or challenging weather conditions can be challenging, but with the right gear and accessories, extreme weather photography can be creatively and personally rewarding.
It is important to ensure colour consistency in your film. While setting your white balance in camera is good practice, a physical grey card provides a visual reference to getting a neutral colour balance in post.
Be sure to check out My RØDE Reel to enter your film.
Relive Christopher Nolan’s space epic Interstellar, a movie so divisive, we might be at war with the Nolanites now!!
What can we learn about filmmaking from a piece of Neoclassic art? Well I guess not a whole lot – except for concepts of composition, lighting, blocking and a good sense of art history. Nerdwriter1 digs into this Jacques-Louis David masterpiece.
To many filmmakers starting out – a film festival is the shining goal, the end zone of the production pipeline. Nothing could be further from the truth – a festival is just the start of the distribution game. Amber Sherman tackles the question – are festivals worth it?
The film festival circuit is supposed to be the golden ticket to success, money, and to hopefully making your next film. So, I pose the question: Are they worth it? The purpose is to get the exposure needed to get your movie out there, seen, and sold. Call film “art,” all you want, but the main objective is to make a living.
Being in acquisitions, I see the initial marketing materials a sales rep or filmmaker will send my way. Of course, what comes with that is the laurels. I see the familiar festivals and then I come across some, and think to myself, “What the hell festival is that?”
The first thing I’m going to say about this whole process is it costs money to get into any festival. The bigger the festival, the higher the price to submit with of course the chance of being rejected. (A quick tip: Make sure you set aside a good amount in your budget for the festival submission process.) This can cost anywhere from $40 to $400 and upwards from there.
Everyone likes to think that the slew of “Official Selection” laurels will buy your audience or whomever you’re trying to sell it to. (I will say the winning laurels, of course, mean a ton more.) This is a case of quantity over quality. Just because you were an official selection of a ton of festivals doesn’t make your movie great, or even good. I’ve seen some movies that were at the big festivals and just wondered… Why?!
Filmagon | Read the Full Article