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Everything You Wanted to Know about Lens Whacking, but were afraid to ask…

Lens Whacking… It’s not nearly as destructive as it sounds. It’s just a matter of detaching the lens from the camera so that light can flare in between the lens and the sensor.

Here’s an example of some Lens Whacking in play:


Check out Planet 5d for more examples and some detailed instructions on Lens Whacking techniques.

Lose Weight and Get Taller (with MovieReshape)

Need to be 10 lbs skinnier and at least 5 inches taller? On the cutting edge of video effects, a team of researchers is tackling your problem head on. Their approach – take a video of a human and remap the body to a morphable 3d model. Then it’s just a matter of adjusting the proportions of the model to suit your needs.

I wonder when this will become a regular feature in iMovie?

Why Subtext is Important for the Director

Judith Weston, author of “Directing Actors,” in a skype video conference with directing students at Tisch Asia/Singapore on Jan 28 2010 responds to the question, Why is it important for filmmakers to understand Subtext? She discusses the importance of knowing “what the script is about” using the movie “Forrest Gump” as an example, and referencing Sidney Lumet’s book “Making Movies.”

A Seminar with Billy Wilder

Master director/writer of such Hollywood classics as “Sunset Blvd.”, “Some Like it Hot”, “One, Two, Three”, “The Apartment” and “Double Indemnity”, Billy Wilder leads the AFI Harold Lloyd Master Seminar in 1976.

Courtesy of AFI.

Billy Wilder says that while it’s not necessary for a Director to know how to write, it is necessary for him to know how to “read”.

Wilder on how he prepares to shoot a film:

Wilder on the Pacing of a Film:

Wilder talks about shooting multiple endings for films:

Wilder talks on career paths:

Billy Wilder talks about the approach of director Ernst Lubitsch, which became widely known as “The Lubitsch Touch”

Billy Wilder talks about working with Jack Lemmon and Shirley MacLaine

Screenplay Rejection Letter from 1920s Movie Studio

This is a rejection notice from Essanay Film Manufacturing Company (1907-1925). It is remembered for a series of silent Charlie Chaplin films. I guess some of these no longer apply to today’s studio standards, such as #5 “Idea has been done before,” #11 “Not Original” and #14 “Improbable.” I also think todays writers would enjoy getting a reason for rejection, other than “pass.”

VIA: Old Hollywood

Add in the comments what disqualifiers you think should be added to todays list.

Rejection Notice

(via Silent Movies: The Birth of Film and the Triumph of Movie Culture)

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