How a director stages a scene dramatically affects the story – in this experiment at YouTube Space LA, we take a boilerplate police detective script and shoot it five ways with five different types of blocking to demonstrate how direction and acting can really change the feel of a scene.
This experiment will take the exact same script shooting the scene using standard over the shoulder back and forth – advanced over the shoulder with business, a One Take shot, a Romantic comedy blocking and a Zucker Brothers style comedy.
Very recently we shared a video on how Hitchcock blocks a scene where I took some reservations about ascribing too much forethought into a Hitchcock directed scene. Much of my experience in this and previous filmmaking experience has shown that blocking dialogue scenes does require a great deal more collaboration than just storyboarding precise movements. I hope this demonstrative experiments shows a lot of what can happen on set.
Freddie Wong walks you through the process of recreating the face swap effect (as seen in our short Mexican Standoff) using Adobe After Effects. Here you’ll learn how to use concepts like tracking, roto and the puppet tool together.
Sick and tired of playing the video games you already have? Try making one of your own. We teach you everything you need to know about building your very own video game!
Watch this treasure of an industrial film from Bell Telephone Laboratories: The Incredible Machine covering early computer graphics, synthesized speech, computer-made movies from the 1968.
Strap into your horse skin and endure hours of Leo scratching and clawing his way to an Academy Award.
Sean Callery is the composer for many hit series, including ‘Homeland’ and Marvel’s neo-noir twist on superheroes, ‘Jessica Jones.’ Variety’s Steve Chagollan went to Callery’s studio to learn how he created the ‘Jessica Jones’ credit sequence and scored a tense scene for ‘Homeland.’
This episode of Hitch20 explores “Poison” as a study of Hitchcock’s power of cinematic suggestion.
This episode of Cinematography Database Show breakdowns the cinematography of “The Martian,” directed by Ridley Scott and shot by Dariusz Wolski focusing on the virtual production process and breakdown what Virtual Production Supervisor Casey Schatz, from The Third Floor, did to go from Previs to the real world.