From movement_of_time - here is a supercut on the lonely people in Sofia Coppola films.
BAFTA invited some of the best minds in the film world to our BAFTA HQ in London to discuss their craft and work with an intimate audience.
In this video Ryan E Walters of Indie Cinema Academy not only explains what negative fill is and how to use it, but he shows it being applied to different situations, gives tips on placement, and provides you with professional & DIY solutions.
In this masterclass, factual directors from TV programmes such as Educating Yorkshire and The Unspeakable Crime: Rape offer insights into their craft, and give their top tips on getting into the industry.
Light emitting diodes have actually been around for quite a bit longer than you may expect… so why does everyone in the electronics space seem to be so obsessed with them lately?
What are the costs and energy specifications of the Death Star from Star Wars? It’s Imperial Engineering 101 on Because Science with Kyle Hill.
If you want to listen to faint sounds far away, you’re going to need a bigger ear. Parabolic microphones gather and focus sound waves the way a satellite dish focuses radio waves, making it possible to listen to the quietest of sounds hundreds of feet away.
Now while this is an interesting build it won’t replace having a good microphone within close proximity to your subject. As always – we must turn to science. (Wikipedia)
Parabolic microphones are generally not used for high fidelity recording applications because dishes small enough to be portable have poor low frequency (bass) response. This is because, from the Rayleigh criterion, parabolic dishes can only focus waves with a wavelength much smaller than the diameter of their aperture. The wavelength of sound waves at the low end of human hearing (20 Hz) is about 17 metres (56 feet); focusing them would require a dish much larger than this. A typical parabolic microphone dish with a diameter of one metre would have little directivity for sound waves longer than 30 cm, corresponding to frequencies below 1 kHz.
Still if you just want to hear something far away, this might be a fun build.
In this episode, Ryan from RØDE Microphones provides a few tips on boom technique for dialogue capture on set. Booming allows the audio operator to get the microphone nice & close to the action while standing at a difference.
Can movement tell a story? Sure, if you’re as gifted as Akira Kurosawa. More than any other filmmaker, he had an innate understanding of movement and how to capture it onscreen. Join Every Frame a Painting today in studying the master, possibly the greatest composer of motion in film history.
Joey Shanks breaks down step by step the entire production process of recreating the Interstellar Blackhole.
Mitchell Ball produced a 29 part series of short clips covering the basics of Grip – from tying knots to the different kinds of stands and grip equipment as well common industry terms. You can view the playlist her or scroll through the list on YouTube to pick which tips to watch.