Producers Chris Wyatt and Sean Covel (Napoleon Dynamite) talk about how to raise money for an independent film.
What’s the secret to unforgettable dialogue? You got to get inside the character’s minds.
When it comes to writing good dialogue the bottom line is this: it’s harder than it sounds. So, how do you get good enough to have Jack Nicholson quote things that were once just a thought in your head? Below is a rundown of Oscar-winning William Monahan (The Departed,The Gambler) insightful interview with FastCompany about dialogue from its conception to the final draft – broken down into two categories: Listening and Interpreting.
Simply listening to people will let you in on the two best lessons for writing dialogue: dialogue is used to reveal not what we want to say, but what we are trying to hide and people say the most entertaining things when they aren’t trying. The reality is people don’t talk in soliloquies and/or profound statements, which is great because you’re writing a script not a sermon. So, forget what your parents taught you— eavesdropping is the way to go. Learning colloquial speech is like learning a whole new language—become fluent.
Of course, then it’s also your job to pepper that language with motivation and revelations. Monahan also points out that natural dialogue is boring, “You’re sort of fumbling around for meaning, whereas in written drama, you have to get at it.” In other words, be natural but get to the point.
ScreenCraft | Read the Full Article
This short video-essay examines various themes and techniques Alfred Hitchcock developed throughout his career. Using 40 titles, it includes every feature film Hitchcock made from 1934 right through to his retirement in 1976. Of the several themes on display here (falling, ascending and descending staircases, opening curtains, reading newspapers, poisoning drinks, women’s hairstyles, shoes, train compartments, sleeping and dreaming, pulling away from and dollying in on the action, overhead shots and characters looking directly into the camera), there are yet others for fellow essayists to examine further (looking through and climbing in and out of windows, nuns and clergymen, eating food, kissing in the countryside, women wearing glasses and people playing games such as tennis, hide-and-seek, fancy-dress and blindman’s bluff).
Dylan Patrick walks through some common issues and how to overcome them when shooting a headshot session.
When I first began shooting headshots, it was a daunting task. Figuring out a rhythm for how a headshot session should go felt like an overwhelming problem. I slowly began to solve the problem through trial and error. It was when I began to realize that we have no control over almost anything in life that I began to find my own rhythm in this crazy photography business.
You Have No Control
It’s a terrifying concept to a lot of people, and it’s a concept exceptionally hard to embrace when we as photographers are always on a constant quest to control every aspect of a shoot. We put our lights up just so, with the model facing in the perfect way. Then a gust of wind comes up and blows her hair everywhere, and we shoot away just in case something good comes from the wind, but alas, nothing. Hair everywhere and nothing cool to show from it. Control: 0. Nature: 1. Embrace the chaos, and don’t let Mr. Murphy and his law dictate your mood, because keeping a photographer in good spirits for a shoot is critical. Once you are able to shake it off and shrug your shoulders at a problem, you can solve it and move on. If you can do this you are well on your way to making photography a career.
FStoppers | Read the Full Article
Check out part 2 of their series here.
Summer Glau (Firefly, Terminator: The Sarah Connor Chronicles, Arrow) sits down with Paul F. Tompkins to talk about transitioning from dancing into acting, kicking off her acting career on Firefly, entering the world of conventions, and playing a robot on Terminator: The Sarah Connor Chronicles.
This quick after effects tutorial will show you how to create complex and super customizable text animations with only using 2 keyframes. Follow along and create your own text animations. plus learn a thing or two about expressions.
Videomaker demonstrates how to use a waveform monitor to correctly interpret the luma values in your footage
Todd Wolfe explains what Macro Extension Tubes are and how they work.
Did you know what an extension tube is or how it can save you money over purchasing a Macro lens? Todd likes to call them tube extenders but whatever you call them they have been around a long time.
In most situations your non macro lenses wont allow you to get super close to your subject. So how do you get closer with the lenses you already own and not have to spend a lot of money on a macro lens? The simple answer are extension tubes.
Extension tubes are literally rings that attach to your camera body and lens to “extend” distance from the lens and the body. There is no glass involved whatsoever in the rings. As you can see from the video using an extension tube gives you the ability to get extremely close to your subject.
There are different size tubes which allow you to get closer or slightly further away from your subject.
You may be wondering why would anyone purchase a macro lens if these extension tubes are so inexpensive? The simple answer is true macro lenses are sharp edge to edge. When you use extension tubes your sharpest area will be in the center of the lens with the outer part of the image getting slightly out of focus.
Tubes can range from $100 and up.
Psychological literature shows that we are more sensitive to small losses and than small gains, with most people valuing a loss around 1.5-2.5 times as much as a gain. This means that we often turn down reasonable opportunities for fear of the loss. However over the course of our lives we will be exposed to many risks and opportunities and this invariably means that taking every small reasonable bet will leave us better off than saying no to all of them.
NOTE: The video is not saying to accept every bet, only those with reasonable odds (preferably in your favour), and those which if you lose would not cause significant financial or other damage. In those cases it is wise to be loss averse!