For sheer directorial craft, there are few people working today who can match David Fincher. And yet he describes his own process as “not what I do, but what I don’t do.” Join me today in answering the question: What does David Fincher not do? Via Every Frame a Painting
There are two sides to Tim Burton that come across in most of his work. Through the use of a variety of light sources, color tones, and his hand-painted characters he expressively creates two separate, colorful worlds that captivate viewers and tickle their imaginations: a dark, grey scale Gothic world, and a goofy world, filled with pastels and striped patterns.
In this segment, Jay P and Lars are joined by Jason, one of Samy’s camera experts, to talk about 4K (and not-so-4K) cameras. Jason has the Sony A7s, Panasonic GH4, and Sony’s new FZ1000 to touch on the pros and cons of each.
From the first chase scene ever to current day. This video shows the evolution that chase scenes have gone through over the years. Including such classics as “bullet’, “gone in 60 seconds” and the James bond series
Huffpost Live’s dive into Quentin Tarantino’s expansive movie universe, including the films ‘Pulp Fiction,’ ‘Reservoir Dogs,’ and ‘Kill Bill,’ which is more complex and connected than you might assume at first glance.
As a film editor and sound designer, Walter Murch has worked on classic films of our time, including Apocalypse Now, The Godfather, and The English Patient, among many more. The winner of multiple Academy Awards, Murch, with his technological know-how, has helped to elevate the art and impact of film sound to a new level. His latest projects, which include editing Phil Kaufman’s Hemingway & Gellhorn and directing an episode of Lucasfilm’s animated Clone Wars, are quintessential Murch: eclectic, distinctive, and visionary. In conversation with Lawrence Weschler, CHF artistic director emeritus, Murch discusses the evolution of film technology from the creation of the 5.1 sound format to today’s Final Cut Pro.