Every Frame a Painting looks at the direction and eyelines of “Silence of the Lambs” for clues to answering the question – who wins the scene?
Alex Buono gives us a great break down of the techniques used to create a low-fi title sequence to the 40th season of “Saturday Night Live”
…And we’re back! After a much-needed summer hiatus, it’s that time of the year again when my comrades in the SNL Film Unit all reconvene on the 17th floor of 30 Rockefeller Plaza for another season of filmmaking speed-drills.
While the usual shoot is a dead sprint from Thursday thru Saturday night, every few years we produce a new Title Sequence and that sprint becomes a 3-week non-stop marathon. Especially when it’s the 40th Anniversary season. The passing of Don Pardo — the legendary voice of SNL since 1975 — only amplified the feeling that this new sequence needed to be something extra special.
As always, the titles are a huge team effort. Our director, Rhys Thomas, spent the summer collaborating with our logo design team at Pentragram Design, led by Emily Oberman, and with our portrait photographer, Mary Ellen Mathews, on a new logo and font design along with a set of mood-boards to experiment with the overall tone of the sequence. The idea was to honor the 40-year history of the show with something classic and iconic, a little more dressed-up than previous seasons and with typography that was integrated into the cityscape.
Alex Buono | Read the Full Article
Lorenda Starfelt details the steps involved for first time filmmakers on crafting their first short.
The goal with shorts is to keep it simple. Simple story, a handful of characters and just a few locations. If you do that, you can make your movie for under a few thousand dollars. How low you can get your budget depends upon how creative you are, how simple your script is and what resources you personally have. With some critical thinking and good producing, you might even keep it under a thousand.
The way to keep your budget down is to put together a project that can shot in one or two days. The key to creating a genuinely professional short is to hire highly experienced professionals in key roles - namely, your DP and your editor. These two people will take up the bulk of your budget.You also want highly experienced actors on board. You, as director, must be comfortable with people who know vastly more than you do about what they are doing.
The first step in a movie project is a script. You can either write one or buy one. Writing one requires talent that someone who wants to direct may or may not have. Buying one takes money and drives your budget up.
Lorenda Starfelt | Read the Full Article
Are you needing to do some touch ups on a photo, no problem go to photoshop and use the healing brush, but how do you do that on video? Well, in this After effects tutorial I show the process of touching up skin and making it look great. Via NoFilmSchool
Two-time Academy-winning editor Kirk Baxter, ACE, discusses how Premiere Pro and other Adobe apps like After Effects give him a powerful editing and post-production toolset. See how the tight integration of Adobe video apps helped Baxter and team turn the raw footage of David Fincher’s thriller Gone Girl into a polished motion picture.
Gary W. Goldstein has produced some of Hollywood biggest box-office hits (Pretty Woman, Under Siege, The Mothman Prophecies), generating well over One Billion Dollars in worldwide revenue, receiving multiple Academy Award nominations, a Golden Globe and numerous other accolades.
When I first drove into this sprawling metropolis – this City of Angels that seemed it could swallow whole the San Francisco I’d just left and still be hungry for more – I found it intoxicating and inspiring, imposing and impenetrable. I’d no idea how to literally or metaphorically navigate the beast of a dream that brought me to this land of endless freeways. I was exhilarated, afraid and mostly lost.
Do not pass “Go” until you get it in writing!After better than a decade spent discovering, nurturing and launching careers as a literary manager, primarily repping writers and directors, I switched hats but continued the search for brilliant new talent as a producer. Failure didn’t evaporate, it just simply had to accept sharing the limelight with bigger and more consistent successes.
Over the years, after countless scraped knees and flat-out failures – a seemingly endless parade of emotional, mental and financial defeats – all that trial and error paid off. The strategies, systems and mindset that consistently triggered successes stood out in bold relief, in contrast to all the attempts, ideas and approaches that, at best, wasted time and, at worst, failed miserably.
ScriptMag | Read the Full Article
What can’t Bill Murray do?
Here at mental_floss, we love Bill Murray, who is always doing awesome stuff—so when I decided to brainstorm art for our newly renovated office, it wasn’t hard to decide where to start. In the process, I discovered so many awesome Bill Murray-inspired things available for purchase, so I threw this list together. You’re welcome!
This journal from Chronicle Books is peppered with more illustrations of Murray spouting affirmations of awesomeness. I currently have it sitting up against the books on my desk, as you can see above.
Mental Floss | Read the Full Article
Jonny Elwyn focuses on ten tips for improving the director/editor relationship.
1. It’s a collaborative effort.
That means I want to bring all that I have to contribute to the project. I want to engage you in lively debate about the best way to shape the project. I want you to be open to trying new ideas and new approaches. I don’t want to you to see me as only a button monkey.
2. What you have isn’t what you had.
The editor is the one who has to stand in the gap between what the director thinks they have or wishes they had, and what they really have. We can only cut the footage you shot. Our job is to bridge that gap as much as we can.
Red Shark News | Read the Full Article
If you do a lot of events, chances are you have to run a lot of cable and tape them down. This new product makes taping down cables an absolutely snape. It may be a little costly, but if you’re regularly doing events, you’ll make it back in no time.
Check out their official site.
To celebrate the October opening of The Hollywood Costume exhibition in Los Angeles, the Academy invited Jum Nakao to create a piece inspired by the costumes of Marie Antoinette.
It just won’t go away, will it? However much you can prove with specifications that digital video is indisputably better than film, there’s a stubborn feeling that there’s more to it than the simple-to-prove facts. RedShark News indentifies one, subtle, process that helps film to store more visible information than digital.
Recently we asked for reader’s opinions on this, and we had a good response, although much of it was rather predictable. Some said that we shouldn’t be comparing the two at all. Some said that whatever anyone wants to believe, that film will always be better – even going on to say that something is “lost” when we digitise things.
Film doesn’t have pixelsBoth film and digital have a limit to their resolutions. With digital, the fundamental unit of resolution is the Pixel. You can count them easily as they’re arranged in a grid. There’s a slight (well actually rather a severe) complication here, which is that in order to get colour out of a modern, single, sensor, you have to have a Bayer-pattern filter, which does reduce the resolution by the time its output has been run through debayering software that kind of guesses what colour each pixel should be, based on the ones around it. This makes it difficult to state the exact resolution but as Bayer algorithms get better and resolutions get higher, it doesn’t change the fundamental dynamics of the film vs digital debate.
Film doesn’t have a grid of pixels. Far from it. What it has instead is essentially random shaped crystals of chemicals. And of course these vary completely from frame to frame, and between different parts of the same frame.
So, whereas with a digital system, the grid doesn’t move, there isn’t a grid at all with film, where, if you try to look for corresponding areas of light on successive frames, you won’t find them on a microscopic level.
RedShark News | Read the Full Article