Menu 

Dat Scene: Rediscovering Hollywood’s Iconic Locations

Phil Grishayev created an amazing tumblr recreating moments in film by scouting out their original shooting locations.

The Graduate1

The Graduate

Fatboy Slim Weapons of CHoice

Fatboy Slim Weapons of Choice

Rebel without a Cause

Say Anything

Who Framed Roger Rabbit

Who Framed Roger Rabbit

Top Gun

Top Gun

Pulp Fiction

Pulp Fiction

Fight Club

Fight Club

BladeRunner

Blade Runner

Drive

Drive

 

Be sure to check out the tumblr for more work

The Wonderful World of Celebrity Fashion With Emily Shur

David Geffin interviews celebrity photographer Emily Shur on her career and style.

Will Farrell by Emily Shur1

Fstoppers: do you think it’s a good idea for someone to go to school to receive a formal education in photography or to just get out there and start shooting?

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.

FStoppers | Read the Full Article

David Fincher Reveals His ‘Life in Pictures,’ from Fighting Studios to Multiple Takes

David Fincher took to the stage at BAFTA’s Piccadilly HQ to discuss his 30-year career in film, commercials and music videos.

David Fincher

On when he knew he wanted to be a director

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.

On why he knows everyone’s job better than they do

[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.

IndieWire | Read the Full Article

Walter Murch: Hollywood Sound Design

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.

Walter-Murch

Case Study: Lighting for Commercials

Tim Civan runs down the lighting setups of four of his recent shoots.

Lighting1

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.

NoFilmSchool | Read the Full Article

Newer Posts
Older Posts