After Effects CS6 does not ship with a built in soft light. But there are third party options. Illumination is an After Effects Script (available for purchase) that sets up a grid of point lights to recreate the look of soft lighting.
Art and filmmaking all comes down to one thing, good taste. Either you have it or you don’t.
Quentin Tarantino talks soundtracks
Death Proof: Dave Dee, Dozy, Beaky, Mick & Titch – Hold Tight
Kill Bill Vol. 1: Twisted Nerve – Composed by Bernard Herrmann
Jackie Brown: Street Life – Randy Crawford
Pulp Fiction: Son Of A Preacher Man – Dusty Springfield
Jackie Brown: Didn’t I Blow Your Mind This Time? – The Delfonics
KILL BILL vol. 1: Bang Bang – Nancy Sinatra
Reservoir Dogs: Stuck in the Middle With You – Stealers Wheel
This article is reposted from our forums
I’m working on a low budget horror film right now that is part of a popular franchise (sorry the studio prevents me from saying which one.)
The budget is low, but its not a micro budget. There are stunts and effects. However, the budget is still very tight, and we’ve run into several traps that I think make great lessons in writing and preproduction for low budget films.
Don’t just worry about what happens, worry about the aftermath
In one of our scenes a house explodes. This is obviously a huge FX thing, and the production did everything right. They hired firetrucks, got all the permits, etc. Blowing up the house went smoothly and was an awesome effect.
The problem was that the explosion was not the end of the scene. The monster emerged from the burning building and continued to reek havoc.
This created a pretty serious issue. Every time we looked in the direction of the house, we had to turn on the fire FX. The process to turn it on takes about 2 to 3 minutes, and must be turned off between takes (unless you go again immediately).
Two minutes may not seem like much time, but consider if we do 15 set ups that look towards the house, with an average of 3 takes each. That means over an hour and a half each day is wasted just turning on the fire.
Think about the reset
Sometimes its the most insignificant things that can cost a ton of time on set.
For example, the “Monster rips the sheriff in half spraying blood over all of the deputies”.
What happens if that take doesn’t go well? Every deputy has to have a wardrobe change. This means each deputy has to have multiple wardrobes on standby, and each take requires at least 5 minutes to reset.
This is also compounded by the fact that you won’t necessarily shoot in order. So you may have to switch back to clean wardrobe, and then back again to bloody several times through the shooting day. This can be a major time sink.
Sometimes its even more subtle
Sometimes wardrobe changes can result from wording that is deceptively safe. For example the script says ” The monster grabs the hero from behind”.
Seems like no big deal right? Well, our particular monster is covered goop and makeup. Just by grabbing someone he runs the risk of making the wardrobe visibly messy.
The same goes for lines like “He falls to the ground”. Just hitting the dirt might render the wardrobe too dirty for continuity.
Location scout with bad days in mind
Our location is a remote wooded area. It looks beautiful and is far enough from any traffic that its also been pretty good for sound (not counting the critters of the night).
Then it started raining for 3 nights in a row. The result is a quagmire in which its difficult to even walk without sinking into the mud, let alone push carts or move trucks.
Larger budget movies can just take a day off, or call in the proper equipment to fix roads and tow trucks out of the muck. On a low budget this can break the bank.
Look for nearby airports
This isn’t so much the case with this movie, but with many movies I’ve been on in the past. Being near an airport can really slow you down (if you care about sound at all).
Each plane that flys anywhere set (sometimes even on interiors) has the possibility of holding up production for two or three minutes. And as mentioned in the example earlier, two or three minutes here and there adds up to big expense very quickly.
Chris Weaver dives into his 6 part series on lighting for Film and TV by exploring color temperatures.
OK, I know you may think that this isn’t perhaps the most exciting subject to read about, but it’s vital for all you budding Directors of Photography and Cinematographers out there, to understand that your ultimate aim is to master your craft, and that means having a deep understanding of ALL aspects of camerawork and lighting.
Mastery will get you to the top of your profession; being part of what I call the ‘Mediocre Majority’ will not, and knowing your craft will get you ultimate respect from your colleagues. If you don’t know this basic stuff, then when you work with experienced Lighting Gaffers and ‘Sparks’ you’ll gain zero respect from them, they’ll see you as unprofessional and treat you with contempt… quite right too!
I know I keep banging on about this but remember… a big part of mastering this craft means having a real in-depth understanding of anything and everything to do with camerawork.
So now I’ve had my industry rant let’s get down to work…
Film Camera Course| Read the Full Article
Want to make a movie but don’t know how to start – here’s a 65 step checklist to follow to complete your film:
2. Write or acquire a screenplay you want to produce.
3. Do an initial breakdown, schedule and budget of the project. How much does it cost?
4. Looking at the initial budget, is there anything you can get for a discount, or free, or barter?
5. Talk with a lawyer and figure out your best money strategy.
6. Following the law, go after the money. This will require strategy, persistence and enthusiasm.
7. This will be one of the tougher parts of the process, but it will make the movie possible.
8. Most people will want to know how the money is going to be spent, what they can expect in return and how will you eventually get their money back. Filmmaking is a risky business, full of unknowns and you should never sugar coat the potential risk involved in this business.
9. Have a plan for the movie when it is complete. Will you take the festival route? Will you market it to colleges and universities? Will you send it directly to sales agents and acquisition pros?
10. Were you able to get the money? If not, here are some (but not all) of your options.
A. Choose a new project.
B. Alter the screenplay to cut costs.
Filmmaking Stuff | Read the Full Article
Banding happens when video is compressed and similar colors get posterized. This undesirable, visible bands of color that can be distracting, and in some cases downright ugly. Check out the video for some techniques to prevent this banding from happening.
Via Nick Campbell
Remove the blinders and look at filmmaking from a holistic viewpoint – art and meaning come from all sources and John explains his feelings about loosing his father and how that informs his filmmaking.
Listen Audio Only.
This has nothing to do with Filmmaking… and everything to do with Filmmaking.
The Big Kahuna Monologue by Danny Devito:
Despite what I say in the podcast, I decided to save the Top 7 for next week… but I promise it will have nothing and everything to do with filmmaking.
Dedicated to hard working internet trolls everywhere. Love ya, keep on trollin’! X Isabel & all the Clever Pies
It’s time to cut a deal. This is the part of the process that makes it all worth it, but it’s also the easiest to screw up because, as filmmakers, we are in the business of making films, not negotiating our own futures. Chris Jones offers some insight into 10 things we screw up.
The reason these negotiations usually end up screwing the filmmaker is quite simple. Filmmakers may be great at blagging stuff for free, or convincing mates to work through the night, but that is NOT high level negotiation. As such, we often blunder into these meetings and get screwed because we are playing a completely different game with different rules.
So here are my top ten reasons why I have screwed up in the past, and if I have done it before, I am pretty sure there is a good chance you might too…
Chris Jones Blog | Read the Full Article
Here’s a unique view of legendary choreographer turned director Bob Fosse as he directs the opening scene of his thinly veiled bio-pic “All that Jazz”.
The Finished cut.