CineFix covers the top ten visual effects breakthroughs of the first part of the 21st century.
Costume design plays an important role in supporting the visual look of your film. Start off with illustrations or sketches to flesh out your costume taking into consideration the effects that the costume may have on the audio & lighting. Try to strike a balance between functionality, practicality & on camera authenticity.
William H. Macy (Shameless, Fargo) sits down with Paul F. Tompkins to talk about the ups and downs of his role on Shameless, his ability to quote episodes of 30 Rock, and how it’s pretty awesome to win acting awards.
When you stare up at the night sky, you might think that the universe is really black, but that’s just because our eyes aren’t sensitive enough to see the billions and billions of multicolored stars out there. Ever wonder why certain stars are certain colors? And what color is our sun, really? If we looked at enough stars, could we figure out the average color of the universe?
Morskoi Kotik celebrates his favorite 60 films from the 90s.
Here’s a 24 minute behind the scenes of the making of Guy Ritchie’s second feature – “Snatch”
Learn to use a 10 stop ND filter for creative long exposure photography. Best practices, correcting color, getting the right exposure, and other tips. Though this may be a photography only tutorial – it could be useful in creating otherworldly timelapses.
Sean Fennessey and Chris Ryan explore some of the hidden alternative films inside David Fincher’s filmography.
Inside every David Fincher work, there are dozens of little dalliances — illicit affairs, taking place just out of plain sight. The elevator pitches are tight — aging backward, founding Facebook, Zodiac killer, Swedish banking crime, seven deadly sins, don’t talk about Fight Club — and most of them will leave you wanting to jump right back down that elevator shaft. But look closely, and you will find the wonderful movements that make up Fincher’s various filmmaking symphonies — the buddy comedy inside Zodiac, the musical inside The Curious Case of Benjamin Button, the campus comedy inside The Social Network, the slapstick farce inside Panic Room.
This all began after Fight Club, his scathing satire marketed as a bro bible. Or maybe it was a bro bible marketed as a satire. Maybe it started because Fincher never wanted his audiences to be confused again, but also didn’t want to sacrifice the little joys of filmmaking. So he began hiding those joys.
Fincher is renowned for his sumptuous compositions, his superhuman eye for detail, and his reputation for putting actors through endless, rigorous takes to strip them of earnestness and capture exactly the performance he seeks; his films can, at first glance, seem almost didactic, joyless, and severe. This is, after all, the man who sees Star Wars as “the story of two slaves.”
Grantland | Read the Full Article
The talking head interview is a staple of documentary and news production – Billy Campbell shares some insight and tips on how to craft better interview footage.
Our good friend Billy Campbell, a working documentary filmmaker and creator of the Scorpion Light, is working on a series of lighting tutorials based on feedback from readers of this site. Recently, he’s also put together another excellent educational resource for filmmakers, an interview and tutorial series with his father Douglas Campbell, a 40-year veteran of the film industry who has seen and done it all.
In the first installment, the pair talk about the process of conducting and lighting an interview, which is the bread and butter of filmmakers working in documentary, corporate, and some genres of television.
The key takeaway from this conversation is something that we’ve all heard before — content is king, and style is secondary. This concept is particularly crucial in an interview setting because you’re likely to deal with a wide range of subjects, some of whom are seasoned pros and some of whom have never been in front of a camera in their lives and are very uncomfortable with it.
NoFilmSchool | Read the Full Article
You don’t always need big heavy lights to create an intimate scene – Bradley Stearn explains how he pulled off this shot with a few basic LEDs and some gels.
The lighting setup for this scene was really simple, which also goes to show that sometimes you don’t need HMIs and generators to light exteriors with (even though we all want to). For the campfire scene our key light was coming from the actual firelight. With our main actor (Adam Templar) sitting a few feet away, the natural flicker from the fire looked great in frame. Our only problem was that the fire would keep dying down after each take, so we had to keep making sure it was topped up with fresh wood. To add to this firelight, we used a small LED panel with two layers of CTO full, and had one of the crew members flicker the light on the dimmer to mimic the existing firelight within the frame. To help shape our actors, we used a LED light with CTB 1/2 as a backlight acting as moonlight. This helped bring Adam out from the background, as well as lighting Natalie who was sat inside the wigwam.
Bradley Stearn | Read the Full Article
Beyond details about his new series “Outcast” and the upcoming “Walking Dead” companion series (which is NOT a prequel, turns out), Robert Kirkman’s time on stage at SXSW revealed how one man’s love of comics, and savvy business practices, built a media empire.
One thing Robert Kirkman wanted SXSW attendees to know right up front: He really loves comics. The creator of many cross-platform franchises, most notably pop culture juggernaut “The Walking Dead,” began originally as a guy who wanted to make his own comics: First, self-publishing them, then working with Image Comics — a publisher that lets creators retain the rights to their own work. “I started doing comics. hat’s how I got into comics,” was his way of summarizing his origin story.
And retaining the rights to his comics is what’s helped Kirkman create the company Skybound Entertainment, which develops ancillary materials around not just Kirkman’s many brands, but other creator-owned properties. It was the focus of the conversation at a panel this Saturday at SXSW, which also covered the ways Kirkman has taken the stories he wants to tell, and spread them across not just comics, but television, film and video games.
What it came down to, for him? “Waiting for the right deal.” That’s how Kirkman described the process of bringing “The Walking Dead” from the page to the screen, because when Hollywood originally came calling, they wanted a whole lot for very little.
IndieWire | Read the Full Article