Francis Ford Coppola on Sound

As early as the Apocalypse Now movie in 1979 when Francis Ford Coppola and sound designer Walter Murch pioneered a quadraphonic sound system for the film tour, Coppola has made sound and audio technology an important part of filmmaking, including building a dedicated mixing facility, American Zoetrope. In 2010, under the direction of Coppola, Zoetrope was turned into one of the first post-production facilities to install a Meyer Sound EXP cinema loudspeaker system on its rerecording stage and has since upgraded the other rooms to EXP. Tetro and Twixt are two of his movies that were mixed on an EXP system.

submited by IQ member Caleb Herring

Top 18 Strategies and Tactics To Get stuff Free or Massive Discounts

Chris Jones offers up a few pointers on dealing with the Independent filmmaker’s monetary concern.

1. Ask
Most people don’t ask for help. Don’t assume the answer will be YES or NO. Ask.

2. Ask in a different way
Pick up the phone, hand write a letter, do anything to avoid just sending an email. If you do need to send an email, make sure you include all your contact details (phone, email, website etc.). You would be amazed how few people have an email footer with their contact details. Do you? If you don’t go and fix this now. Nothing is more enraging than wanting to help but not being able to do so as the person can’t even be bothered to communicate professionally.

3. Make the offer clear and short
No-one has time to read lengthy communications, watch clips or browse your site. So keep it short and straight. When asking for help, set a little context (who you are and why you need help – and when I say a little, I mean a little, not some self aggrandising or begging opus). Then make the request and explain what you will do in return. Again, short and sweet. Thank them for their time and make it easy for them to come back to you, even if it is to say no. Because when people write back and say no, they are letting you know they care enough to respond – that door is still open for future possibilities, and now you have a relationship.

Chris Jones Blog | Read the Full Article

Make Your Own DIY Inline Dimmer Switch

John Hess demonstrates how to wire up an inline dimmer to help control the strength of your lights.

Keep in mind that most lights “warm up” when you dim them and unless a CFL says it’s dimmable, you’ll have weird results when dimming those bulbs.

As always with Electrical wiring, be extra careful and follow the instructions on your dimmer.

Keanu Reeves on Gains and Losses of Technological Revolution in Filmmaking

Reeves dissects the gains and losses of technological advances and industry shifts in filmmaking, which he details in the documentary, Side by Side.

Keanu Reeves has maintained a steady film career with diverse credits that include a mix of big-budget features, like the blockbuster Speed—which made him an instant A-lister—and The Matrix trilogy, as well as low-budget indies and roles on the stage. Born in Beirut, Lebanon, Reeves grew up primarily in Toronto, Canada and, at age 15, opted to pursue acting over his interest in playing professional hockey. While he carefully chooses his acting roles, he’s also transitioned to working behind the camera, producing and narrating the documentary, Side By Side, and making his directorial debut with Man of Tai Chi.

Watch Actor Keanu Reeves on PBS. See more from Tavis Smiley.

Blackmagic Cinema Camera and Sony FS100 Low Light Shootout

Frank Glencairn pitted the Sony FS100 against the Blackmagic Design Cinema Camera in a gas lamp lit battle of gaslamp-photon-gathering contest.

Blackmagic Cinema Camera vs FS100 Lowlight Shoot-Out from Frank Glencairn on Vimeo.

Sorry for the shaky footage at the FS100 part, but it started raining and I just grabbed the Fs100 and shot the rest hand held in a rush.

I used a Samyang 35mm f1.4 at f2.8 and a Heliopan IR/UV filter.

Lighting was the oil lamp on the table, a oil lamp about 8 ft away on the wall and a garden torch in the background.

Changing the ISO on raw, doesn’t make any difference, it`s just metadata (that`s the reason I just used 800 ISO), but makes a difference while ProRes recording.

Of course I could have gone way higher with the ISO on the FS100, but why compare ISO 16000 to ISO 800?

Regarding the speed of the camera, the FS100 wins hands down because of way higher usable ISO. It’s the queen of the night, period.

But the BMC gets a way nicer image out of 800 ISO, than the FS100.

The grading was done pretty rudimentary. If I had used masks and secondary grading, I could have get even more out of it.

But this is just to give you guys an idea, what to expect.

Shane Hurlbut: Storytelling through Composition

Shane Hurlbut covers some different types of shots and why he uses them.

Part 1:

Wide Shot aka Doinker:

This usually is used to educate the audience on place and geography. The establishing shot lets the audience know where everyone is. In my opinion, these frames are underutilized. I like seeing where my characters are, the time and space. It sets the tone, the mood, and it is where all light comes from, all motivation, all conception. This can be used to show the peril that your character is about to face; it can show scope; it can make you cry; it can ground you, create a sense of loneliness, move you, have you just say “WOW!” There is power in a wide shot. I have been spinning film through a camera for about 20 years now, and I still go to movies and drop my jaw with the incredibly talented cameramen/women who bring this art of cinematography to life.

Depending on the film, it can be a helicopter shot, a sweeping crane shot, a slow moving dolly or just a Doinker, which is one of those weird terms. This was introduced to me by McG on We Are Marshall. He kept saying, “We will set the camera up here for the Doinker.” I loved it and have been using the word to describe a locked off shot that “doinks” onto the screen ever since. McG has a passion for the entire process of filmmaking and inspires me creatively with his humor and vision.

Hurlblog | Read the Full Article


The Dirty OTS (over the shoulder):

This frame is another favorite. It can be used to show characters coming together because they are in love or for a particular cause or set of circumstances.

The person whose shoulder is being shot over is dirty, out of focus in the frame. To do these frames effectively and give your actors room to breathe, I suggest going on a slider, which in this instance we call “The Over Keeper” because you slide to keep your perfect dirty over. Sometimes your actors can lean, move, adjust themselves, and you don’t want to not see the actors’ eyes.

Being obsessed with the subtlety of shot design:

Other times, you can do overs that do not include the actor in the foreground. The director John Stockwell and I did this on Crazy/Beautiful in the beginning and used this style as a vehicle to bring the two together in a subtle way. We did not want Jay Hernandez and Kirsten Dunst to feel like they were together at first, so we shot clean overs. Then as they befriended one another, we started to link them together in wide dirty overs. Jay and Kirsten’s dirty overs became more and more claustrophobic as they fell deeper in love. We visually showed this by slowly narrowing that gap between them until they were literally on top of each other in the dark room scene.

Hurlblog | Read the Full Article

Stanley Kubrick and the One Point Perspective

Stanley Kubrick owns the term “Obsessive Visual Filmmaker” and one of the hallmarks of the Stanley Kubrick look is the one point perspective shot. This supercut by kogonada demonstrates the persistent vision of the filmmaking master.

Submited by Caleb Herring

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