Rick Bakers shows you how to make a rubber prosthetic with a “Build Up’ technique.The inspiration for this make up was the original Miss Shock character created by Bob Burns back in 1959
Kevin B. Lee asks his own digital assistant why “Her” should win best picture.
There’s this one moment that really haunts me. When Theo learns that Samantha has become so sophisticated that she can interact with multiple OSes and humans besides him. This shot of these men all talking in isolation has so many meanings. Is she cheating on Theodore with all these men? Doesn’t that mean that they are as easily seduced as Theodore, and the OSes have the power? Have we let ourselves become enslaved by technology?
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Join legendary film editor Walter Much in this fascinating masterclass covering his body of work, including his new feature documentary Particle Fever, which is screening at this year’s Doc/Fest. Universally acknowledged as a master of picture editing and sound design, Murch has worked with, among others, director Francis Ford Coppola on such cinematic milestones as The Conversation, The Godfather I, II and III, and Apocalypse Now. From the point of view of someone who started working in theatrical features when computers were completely absent, to now 45 years later when they are omnipresent, Murch will explore the constants that nonetheless remain after the “bones” of celluloid and sprockets have dissolved away, and examine the salient technical, artistic, and philosophical differences between the post-production of a theatrical scripted film and a feature-length documentary.
Film Noir is an unmistakable genre yet also incredibly difficult one to define. Beyond the visual chiaroscuro images, Noir can best be invoked through music – the hard bop sounds of 1950s jazz from Miles Davis that came to define urban cool.
When we think of film noir, we tend to think of a mood best set by a look: shadow and light (mostly shadow), grim but visually rich weather, near-depopulated urban streets. You’ll see plenty of that pulled off at the height of the craft in the movies that make up “noirchaeologist” Eddie Muller’s list of 25 noir pictures that will endure, which we featured last week. But what will you hear? Though no one compositional style dominated the soundtracks of films noirs, you’ll certainly hear more than a few solid pieces of crime jazz. Xeni Jardin at Boing Boing, writing about Rhino’s eponymous compilation album, defines this musical genre as “jazzy theme music from 1950s TV shows and movies in which very bad people do very bad things.” She links to PopCult’s collection of classic crime jazz soundtrack album covers, from The Third Man to Charade (the best Hitchcock film, of course, that Hitchcock never made), to The Man With the Golden Arm, all as evocative as the music itself.
“Previously, movie music meant sweeping orchestral themes or traditional Broadway-style musicals,” says PopCult. “But with the growing popularity of bebop and hard bop as the sound of urban cool, studios began latching onto the now beat as a way to make their movies seem gritty or ‘street.’” At Jazz.com, Alan Kurtz writes about the spread of crime jazz from straight-up film noir to all sorts of productions having to do with life outside the law: “In movies and TV, jazz accompanied the entire sordid range of police-blotter behavior, from gambling, prostitution and drug addiction to theft, assault, murder and capital punishment.” Get yourself in the spirit of all those midcentury degeneracies and more with the tracks featured here, all of which will take you straight to an earlier kind of mean street: the theme from The M Squad, “two minutes of mayhem by Count Basie and his mob of heavies”; Miles Davis’ “Au Bar du Petit Bac,” improvised by Davis and his Parisian band against Louis Malle’s Elevator to the Gallows; and Ray Anthony’s “Peter Gunn Theme,” a “quickie cover” that “beat Henry Mancini’s original to the punch.”
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Legendary author Kurt Vonnegut explains the shape of stories – with his ideas no in easy to digest infographic form!
Vonnegut’s thesis was rejected* (“because it was so simple, and looked like too much fun,” according to him), and he left the university soon thereafter, sans degree, to take a job with the public relations department at General Electric; but he would champion his theory defiantly, with characteristic wit and charm, for the rest of his days,
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Andrew S. Gibson covers the topics of Depth of Field and Hyperfocal Distance in this article on the science of focusing.
The depth of field calculator throws up another figure – the hyperfocal distance. This is the closest point at which you can focus the lens at this focal length and aperture settings, and still keep everything from the focusing point to infinity in focus.
In this example the hyperfocal distance is 2.7m (8’11?). Focus on this point and everything from 1.34 metres (4’5?) to infinity is in focus. That maximizes depth of field and helps you get the entire scene sharp.
Digital Photography School | Read the Full Article
In this seminar, participants learn how to construct a pitch in a way designed to be maximally successful. The instructor Andrew Frank helps creative individuals and organizations achieve their goals by regularly facilitating workshops and seminars, as well as providing one-on-one coaching.
The director of Wedding Crashers and The Change-Uplearned The Ten Commandments of Directing Comedy through trial and error—not divine inspiration.
1. “KINDA FUNNY” MEANS IT’S NOT WORKING
Laughter is binary: It either happens or it doesn’t. As each joke arrives in the course of a film, the cavernous space of the theater is either filled with joy and laughter, or with the quiet of cringing embarrassment. Every time you step to the plate to make a joke you’re going to experience one or the other. “Kinda funny,” or in other words, chuckles and smiles, are basically comedy blue balls: a failure to launch. People pay to laugh, and laugh big.
2. IT ONLY LOOKS EASY WHEN IT WORKS
Comedy, when it works, is light on its feet and has the illusion of complete spontaneity: as if there is no film, no camera. You are standing there experiencing it all in real-time. This illusion, I believe, is why so many people think comedy is easy. (“That actor is so funny!!!”) People tend to disregard comedy as “art,” and somehow downgrade it into a sub-genre of filmmaking referred to as “entertainment.”
DGA.org | Read the Full Article
Joe McNally shows how using accent lights can guide your viewer’s attention to a specific area in your photo – though this is a photography lesson, there is a lot of similar concepts in cinematography.
Thanks to social media, teens are able to directly interact with their culture — celebrities, movies, brands — in ways never before possible. But is that real empowerment? Or do marketers hold the upper hand? In “Generation Like,” Douglas Rushkoff explores how the teen quest for identity has migrated to the web — and exposes the game of cat-and-mouse that corporations are playing with them.
What IS fiction? That’s the question that popped into our minds when thinking about Orson Welles’ radio War of the Worlds performance, which set off a public panic of listeners who thought NJ was truly being attacked by aliens. Now those aliens didn’t really exist, since it was all pretend. But on the other hand, they did (and do) KIND OF exist. They can be described, referenced, and can have as much veracity to people as physical objects. And the worlds created in fiction can contain REAL things – cars, people, New Jersey. Can something both exist and not exist?