How to make Good TV for the web, According to Amazon

Amazon Studios director Roy Price explains why certain shows succeed, whether to launch every episode of a show at the same time, how much a good show costs, and the difference between good TV then and now.

Alpha House

Two years ago, Amazon (AMZN) started developing television content. In the past year, the company produced 24 pilots, which, according to Amazon Studios director Roy Price, is more than a typical broadcast network will prepare for primetime in a year.
Four of the five comedy and drama shows that Amazon debuted on Feb. 6 will be made into a series. They include Transparent, a dark comedy about an L.A. family with a father who is transitioning genders; Mozart in the Jungle, a comedy set amid the dramas of life in a New York orchestra; The After, a sci-fi drama from the creator of The X-Files; and Bosch, a drama based on books by the detective novelist Michael Connelly. Alpha House, released last year, will get a second season.
Fortune spoke with Price on May 13 at Wired’s BizCon in New York about how to make good TV and why it makes sense for Amazon.

Fortune: You are in Seattle. Where is your team?

Price: They’re in L.A. If you want to make TV shows, you gotta go to L.A. I have MVP Gold status on Alaska [Airlines]. I’ll move back to L.A. — I’m from there — in August.

You moved to Seattle nine years ago to join Amazon. What were you tasked with doing then?

I came to start the digital video store, at the time the DVD store. The question was, How are we going to approach the digital side of the video business? Those were the days when, I can remember one studio head saying to me, “You know, I can tell you one thing: No one is ever going to download one of our movies.” And you know, eight months later you have a deal with them, but it was a period of transition.

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The 12 Basic Principles of Animation

The 12 basic principles of animation were developed by the ‘old men’ of Walt Disney Studios, amongst them Frank Thomas and Ollie Johnston, during the 1930s. Of course they weren’t old men at the time, but young men who were at the forefront of exciting discoveries that were contributing to the development of a new art form. These principles came as a result of reflection about their practice and through Disney’s desire to use animation to express character and personality.

Check also the animated gif gallery here

Squash and Stretch

Godzilla: Behind the Roar

Godzilla’s roar is one of the most recognizable in film history. How do you update an iconic sound for a new generation? Dolby & Legendary go behind the scenes with Erik Aadahl, sound designer on ‘Godzilla’, director Gareth Edwards and producer Thomas Tull, to look at how you tackle this historic challenge.

Via  , NoFilmSchool


Advanced Handheld Camera Techniques

This lesson shows you how to hold and move your camera, to replicate the shots achieved with complex gear such as cranes and dollies. Rather than going for the wobbly handheld look, you can combine pans and tilts with height changes and pushes, to create complex camera moves. This approach brings your scenes to life, without requiring a time-consuming setup..

Via Tuts+ Photo & Video


Wally Pfister’s Cinematography for “Inception”

Maaz Khan explores the visual styles of the different levels of Christopher Nolan’s dreams.


In 2010, Christopher Nolan released a film he’d been working on for over half a decade, and the premise of it was something not too long ago thought un-filmable. Titled Inception, the story was held off as a complete secret, and when teaser trailers did release, nobody really understood what they just saw. Wally Pfister, the cinematographer behind the movie, arranged an immediate meeting with Chris after reading the script he was sent, to try and figure out “what the f*ck was going on.”

Wally Pfister has been a collaborator with Christopher Nolan for a long time now, working as a cinematographer for every film of his since 2000?s Memento. Both him and Chris share two significant things in common: their love for naturalism, and their love for shooting in film. And if there’s anyone keeping the medium of film alive in the digitally dominated industry of Hollywood today, it’s these two guys. Their last venture together with The Dark Knight Rises grossed over $1 Billion, and that was accomplished without the film ever being released in 3D; when I say they love naturalism, I mean they love naturalism.

By now, most of us are familiar with the film; it became one of the biggest original stories to top box offices worldwide within the past few years, and it was something new. And with how practical both Chris and Wally are with the way they want things shot, Inception was cinematography at its finest.

DIY Photography | Read the Full Article

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