There are two sides to Tim Burton that come across in most of his work. Through the use of a variety of light sources, color tones, and his hand-painted characters he expressively creates two separate, colorful worlds that captivate viewers and tickle their imaginations: a dark, grey scale Gothic world, and a goofy world, filled with pastels and striped patterns.
Color is another huge element in Burton’s films, created by careful lighting and, in the case of his puppet films, pensively hand-painting… Besides granting “Nightmare” a Gothic flair, the lights and colors contribute to the film’s symbolism.
In Halloween Land, everything appears in gloomy shades because the characters there lack the sincerity, hope, and imagination of a warmer atmosphere. In Christmas Land, the landscape buzzes with all the festive colors traditionally associated with the holidays; the waves of red, green, and gold allude to cheer and optimism. The Real World, where Jack goes to deliver presents, though, is much blander; the houses, the cars, the people–everything is a neutral tone or a humdrum pastel. In other words, reality hovers somewhere between Halloween Land and Christmas Land in terms of faith and rosy sentiments
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Eric Cheng, director of aerial imaging for drone maker DJI, trekked out to Iceland to fly a DJI Phatom II into an active volcano for some stunning footage.
In this segment, Jay P and Lars are joined by Jason, one of Samy’s camera experts, to talk about 4K (and not-so-4K) cameras. Jason has the Sony A7s, Panasonic GH4, and Sony’s new FZ1000 to touch on the pros and cons of each.
From the first chase scene ever to current day. This video shows the evolution that chase scenes have gone through over the years. Including such classics as “bullet’, “gone in 60 seconds” and the James bond series
Huffpost Live’s dive into Quentin Tarantino’s expansive movie universe, including the films ‘Pulp Fiction,’ ‘Reservoir Dogs,’ and ‘Kill Bill,’ which is more complex and connected than you might assume at first glance.
David Geffin interviews celebrity photographer Emily Shur on her career and style.
Emily: I think every photographer could benefit from learning about the fundamentals of photography – how a camera works, how to make your images look the way you want them to look, what changes in camera do for one’s picture, and so on. It doesn’t have to be a formal education per se, but I do think it’s important for photographers to understand their choices and how they impact their images.
Fstoppers: How do you think you cultivated your particular vision or point of view that you bring to your work, and can you describe what this vision or aesthetic is and how it spans across different genres?
Emily: I would describe my aesthetic as classic. I’m most interested in what I consider to be the fundamentals of photography – composition, light, and feeling or emotion. My vision hasn’t changed drastically over time…I’ve just learned how to articulate it better.
The point of view is consistent throughout all of my work. I compose a landscape the same way I compose a portrait. I look at the whole frame and try to figure out what conveys what I want to say the best.
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David Fincher took to the stage at BAFTA’s Piccadilly HQ to discuss his 30-year career in film, commercials and music videos.
I was fairly convinced at the age of eight that’s that what I wanted to do with my life. And when I was living in Marin [County] my next door neighbor was George Lucas and I was that close to movies that were being made. Then my parents decided to tear us out of there and take us to this place [in Oregon] where there was no cinema except for this little cinema. I worked after school directing plays and doing lighting for plays and at night, from six to midnight, one in the morning, I was a projectionist. At the weekends I would shot E&G footage for a local television station. If a barn was burning down I was the guy out there trying to get a shot of it. So I worked in a movie theatre because I wanted to see movies and I wanted to really watch them over and over again, and I worked at the TV station to learn how to use a camera. I remember I saw “Being There” 160 times, I saw “All That Jazz” 200 times, I saw “1941″ 200 times, whatever was there that was interesting I would just watch it. [Watching those movies] I was, “Why are they doing it this way?” Because from the time I was eight I made Super 8 movies and the dominos were starting to fall for me about coverage and over the shoulders shots and how you knit a scene together.
[In the early days] being on sets and watching how shit went down, I watched a lot of directors get rope-a-doped. I could see that they wanted to be able to execute something and the “experts” who were hired to help and support them would go, “We don’t really have the time for that.” So I watched talented people I liked and I admired get spun and worked, and I vowed never to let that happen. I was like, “I want to know what every muthafucker in the room does. I never wanted to be the guy who was victimized by other people’s laziness. So I haunted the hallways at ILM and would hang out in the optical department and I would go into editorial and I would go into the animation department.
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As a film editor and sound designer, Walter Murch has worked on classic films of our time, including Apocalypse Now, The Godfather, and The English Patient, among many more. The winner of multiple Academy Awards, Murch, with his technological know-how, has helped to elevate the art and impact of film sound to a new level. His latest projects, which include editing Phil Kaufman’s Hemingway & Gellhorn and directing an episode of Lucasfilm’s animated Clone Wars, are quintessential Murch: eclectic, distinctive, and visionary. In conversation with Lawrence Weschler, CHF artistic director emeritus, Murch discusses the evolution of film technology from the creation of the 5.1 sound format to today’s Final Cut Pro.
Vashi Nedomanski scoured the net for resources on Spielberg’s “Raiders” – compiling them in this exhausted resource.
Raiders of the Lost Ark is a glorious obsession of mine. I have watched it close to 100 times and always glean a new detail or filmmaking tidbit on each viewing. As a child I looked up to Indy, now as a filmmaker I look up to Spielberg. Raiders of the Lost Ark is a masterpiece that fires on all cylinders with equal parts: adventure, comedy, action, thriller, love story and the supernatural. I’ve scoured the internet for rare content and also created my own video essays in order to assemble this ’1-Page Film School’.
The included resources are: 17 embedded Videos and 9 downloadable PDFs. They are all compiled below to create a detailed and informative database showcasing Raiders of the Lost Ark’s intricate components. It covers: Directing, Film Editing, Cinematography, Screenwritiing, Sound Design and Music. It’s not something that can be consumed in one sitting…so take your time and chunk away when you can. Please enjoy my first ’1-Page Film School’ with its amazing insights into the Craft of Filmmaking!
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A new type of lens technology will enable even the thinnest smartphones to utilize optical zoom.
Smartphone cameras have improved exponentially since their introduction to the world, but one company still believes there’s plenty of room for improvement. That company is DynaOptics and their latest tech is promising to pack optical zoom into more smartphones without adding any bulk to the phones at all.
Mostly due to physical limitations (read: bulky optics), few smartphones have featured optical zoom camera systems. As phones get thinner and thinner, protruding lenses on phones aren’t exactly… popular… and so the optics suffer for the sake of portability and design.
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Tim Civan runs down the lighting setups of four of his recent shoots.
Shot on Alexa Studio with Zeiss Super Speed MK I lenses. This is the Alexa with the optical viewfinder and Spinning mirror shutter. It’s wonderful having an optical viewfinder, feels so much better than an EVF.
This shoot really is a great culmination of many elements. We shot in the Presidential suite of the Waldorf Astoria Hotel, with Victoria’s Secret model Sarah Stephens. How could we go wrong? Beautiful talent, beautiful location, beautiful camera and lenses. Jennifer, our director, is one of the fastest and best prepared directors I have had the pleasure of working with. She got access to the location weeks before the shoot, and shot an iPhone previs with Artemis shot by shot, then animated it so it had a sense of pacing. This meant that I had the advantage of being able to know exactly how long each shot needed to be. Thus, we could focus on making each of those moments as perfect as possible. The catch on this shoot was the fact that we only had 6 hours to shoot the whole thing, load in to tail lights. Having concise shots, and frames already established just let us focus so intensely on exactly what we needed and nothing else. I used the latitude of the Alexa to its fullest using the natural sunlight, and shaping the contrast in the room with black floppies and a 1.8K ARRI M18 with a Chimera as selective fill.
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