Behind the Scenes of NatGeo’s “Wicked Tuna”

7 days of filming, 2 days for still photography, 9 locations, 6 camera units, 7 captains, 5 production support boats, 45 crew members…shooting with Arri Alexa, Red Epic, Phantom Flex, Phantom Miro, Sony F3…Techno Dolly, Cineflex (boat and helicopter), Underwater Phantom, 360 degree dolly track setup…all in all, one of the most involved, most complex and most fun shoots I’ve been lucky to be a part of. Thank you to the team at Evolve IMG, and the NGC Creative Team for one incredible production!


The Long Takes of “Louie”

Forrest Wickman examines some of the long takes peppered throughout the fourth season of one of the best shows on television: “Louie”

When the first season of True Detective ended its fourth episode with a roughly six-minute action sequence shot in one long take, fans and critics were wowed. There were whole articles dedicated to breaking down the shot’s execution and putting it in the context of TV and movie long take history. When this season of Louie ended its third episode with a long take lasting about 7 1/2 minutes, on the other hand, the nature of the shot was barely mentioned.

This makes some sense. Louie, after all, wasn’t body-slamming drug dealers and weaving his way through exploding squibs and elaborate pyrotechnics. (Though that would have been awesome.) Instead, he was just doing what he spends most of the show doing: walking and talking his way through the challenges of everyday life, and making a few jokes.

While that long, uninterrupted shot was the longest so far this season, and—given the FX show’s need for commercial breaks—the longest we’re likely to ever see on Louie, it’s far from the only one this season. There have been times watching the show when I almost could’ve sworn it was ghost-directed by Alfonso Cuarón: Over its three or so hours so far this season, there have been about two dozen shots longer than a minute, about a dozen longer than two minutes, and about five longer than three minutes. Those times may not sound like much, but on screen, one or two minutes without a cut can feel like an eternity. In fact, many of the most renowned long takes in screen history—the entrance into the Copacabana in Goodfellas, the opening shot of Boogie Nights, the opening shot of Touch of Evil—last only about three minutes. That closing scene from “So Did the Fat Lady,” at around 7 1/2 minutes, was only a few seconds shorter than the longest shot in Children of Men. | Read the Full Article


Making Maleficent Fly

Maleficent’s Oscar-nominated Visual Effects Supervisor Carey Villegas speaks with Creative COW about his work creating the world of the iconic Disney villain, coordinating multiple effects houses on every one of over 1500 shots, and the challenges of creating realistic effects.


I know you were the VFX supervisor on Alice in Wonderland, which was another very visually rich, world creation, and not just a movie story being told, but a world being built. How would you compare your role on those two?

I’ve collaborated with Robert Stromberg before in his role as art director, on a number of projects over the years, including Alice in Wonderland. Our challenge with that was the same as for Maleficent: how to create these magical, fanciful environments, while still making them feel kind of realistic and believable.

In the case of Alice in Wonderland, we were going for much more stylized feel. That was primarily done within a green environment with very few set pieces. In that way, the film was designed more in post-production.

This time, we wanted to ground it a little bit more in reality — still having the fanciful things that we had in Alice in Wonderland, but to also have more practical things to ground it, starting with more sets and more locations.

What’s the role of effects for a fantasy movie at the more realistic end of the spectrum? That’s a lot of different threads to try to be weaving.

I’ve done a lot of projects with invisible types of effects, for instance, Cast Away. Movies like that aren’t trying to showcase any particular visual effects. You’re just trying to extend the world, make it more believable, and also do things that may not be practical for actors to do, or locations to go to. So when you get into an Alice in Wonderland-style film, or a film like Maleficent, the great thing is that you’re really trying to say, “Wow look at me.”

We’re always striving to bring realism to some of these things that we’re creating entirely on the computer. You can do that in a number of ways, whether it’s performance capture or motion capture, or even if you’re doing traditional key frame style animation. It really depends on the characters.

The key for me on this particular show was that there are so many different characters. For example, there are 15 or 16 different types of fairies, and within each of those classes, there were variations on them. That meant creating 40 or 50 different-looking characters, and all kind of families of characters.

Creative COW | Read the Full Article

For Jennifer, Whomever You Are – Advice on How To Pursue Your Art

David duChemin shares his advice for budding photographers who ask his advice on their portfolio in this lovely article that applies equally to filmmakers.

A young girl selling butterlamps in Kathmandu, Nepal

Thank you for the invitation to spend some time with your work. I know you meant for me to look at your work and give you advice based on that, but I only know how to struggle with the making of my own art, not yours. I could make suggestions about colour or composition but they’d only bring you closer to making your work look like mine, and no one needs that. Only you can discover what your art will look like. So here’s what I’ve got. It’s what I wish I’d heard sooner:

You’re young. I still think I am too, but it’s relative. You’re at the very beginning of this process and much as you think you are beginning to know who you are now, well, Life has a way of changing that person, and with it her art. You ain’t seen nothing yet.

So since you’re at the beginning, spend more time working on the artist than the art. Be patient with her. Allow her to express her wants and desires and chase hard after them. They’re likely to change along the way. Chase them wherever they lead. Learn to listen to, and trust, that voice.

Take risks. Take more risks.

Be heartbreakingly vulnerable with the world and your art.

Don’t take yourself too seriously.

Be curious.

PetaPixel | Read the Full Article

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