Yep, Here’s Another Ode to the Best Shots in All of Cinematic History

These are some of the greatest camera moves ever recorded on film.

It has been about six months, but CineFix is back with the latest installment of their Best Shots of All Time series. While previous videos showed us the very best in shot size, shot types, and establishing shots and cutaways, Part 4 explores the wonders of camera movement. From pans and tilts to rolls and pushes, we get to see how some of history's greatest auteurs cleverly moved the camera to communicate in new and exciting ways with their audiences.

The subject matter in this installment of the series, in my opinion, is the most accessible and palatable, because everyone loves a good camera move. Whether it's Wes Anderson's signature whip pans or the knockout dutch tilt in Creed, audiences love the showmanship of a kinetic camera. However, the moves that earned a place on CineFix's list are a lot more subdued and subtle than the examples shown throughout the video.

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How to Shoot for These 5 Creative Editing Tricks

Some of the most creative edits are pulled off with the help of some great camera work.

Post might be the last phase of production, but that doesn't mean filmmakers shouldn't prepare for it early on in the project. In fact, some shots will require a bit of magic created by both your camera and editing software working together. In this video, Jordy Vandeput of Cinecom teaches you how to pull off some of these creative edits, including a fake dolly zoom, fake handheld movements, and more realistic punches for fight scenes. Check it out below:

Here are the editing tricks Jordy talks about in the video:

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Director Alexander Payne’s 10 Favorite Films from the Criterion Collection

The Oscar-winning director names his top Criterion picks.

Despite the rather harsh criticism for his latest film Downsizing, director Alexander Payne has built his career with Oscar-worthy films like Sideways, The Descendents, and Nebraska. Criterion even chose one of his most loved films, Election, starring Matthew Broderick and Reese Witherspoon, to be shelved in their illustrious library beside some of history's greatest and most important films.

Payne was invited to peruse Criterion's closet to name some of his most favorite films in their collection. Here's what he chose:

Here is the list of films chosen by Payne:

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This Cheat Sheet Contains All the Walkie-Talkie Lingo You Should Know on Set

Don't know anything about walkie codes and radio etiquette? That's okay, this infographic will help bring you up to speed.

Unless you've worked on a professional film production (or read one of our previous articles about it) walkie-talkie lingo probably seems like a foreign language to you. This can create some real confusion and anxiousness when you arrive on your first real film set and have to awkwardly announce to everyone that you have to go to the bathroom instead of confidently giving the ol' "10-1" or "10-2" code before heading off to the john. This is why becoming fluent in the lingo is super important, and StudioBinder wants to make the process a little easier for you.

Back in August, StudioBinder shared a video that covered all of the crucial codes needed to communicate clearly and efficiently with crew members on set via walkie-talkie, and while that was great and very helpful, they've decided to make the information a little more accessible.

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‘Jurassic World’, Trekkies, Joaquin Phoenix & More Trailers You May Have Missed

Staying on top of the trailer circuit is a full-time job in and of itself. We're here to help. Wormwood (dir. Errol Morris)

Master documentarian Errol Morris returns to long-form storytelling with a binge-worthy tale clocking in at four hours in six parts. Ideal for Netflix, right? In 1953 army scientist Frank Olson was requested by the CIA to gather in New York City for several meetings. Less than a week later, he plunged to his death from the 13th floor of the Hotel Pennsylvania. Was it a pre-meditated suicide or a sloppy murder covered up by government officials? Told from the perspective of Olson's son, determined to get satisfactory answers that would reveal the injustices his father suffered, Wormwood is part documentary, part dramatization (lead by actor Peter Sarsgaard), and all compelling drama. Viewing parties will be essential next weekend. Release Date: December 15, 2017, via Netflix

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‘QUEST’: How a Director Shepherded His 10-Year Production Into Theatrical Release

Jonathan Olshefski thought his film was done five years ago, but then life happened.

QUEST, which premiered at Sundance 2017 and opens today in NY and LA, doesn't fit into one box. It's both a family saga and a collection of miniature portraits. It's both a story about music and a story about the protection of interpersonal bonds against violence. It's a historical document and it's a visual timeline passing through some of the simultaneously best and most difficult times in our country's recent past. Jonathan Olshefski's debut documentary tells the story of a family in North Philadelphia and the events that happen around them and that march right through their living rooms and workplaces, all dramatic, all sharp, and all familiar—at times painfully and at times movingly so, sometimes both.

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Watch: These Are the Ten Tools Every Filmmaker Should Buy

These items are pretty much mandatory if you want to make a film.

If we had a dollar for every time someone asked us “What camera should I buy?,” we could have bought an Alexa by now. After that, the most frequent question we get asked around here is “What else should I buy?” In his latest wolfcrow video, Sareesh Sudhakaran attempts to answer just that. Now, the title of his video is somewhat misleading, because, in truth, you will likely rent many of these items before you dive into a real investment, but these items are certainly essential on any serious film set.

Take a look at Sudhakaran’s list and reasoning, and read on for our take, below:

1. Camera

Obviously, you can’t shoot a film without a camera. Whether or not you need to buy your own is an open question, but you’ll certainly want to do your research to determine which is the best tool for you either way. You’ll find in-depth camera reviews and tech specs galore on this site, but there’s nothing like getting your hands on a camera to find out whether it’s going to meet your specific needs.

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Is it Time To Shelve Your Film? Ask Yourself These 9 Questions

Here's how you know when to say when.

As much as we hate to admit it, there are certain times it is necessary to "murder your darlings" or, as it is more politely known in industry terms, "trim the fat from your development slate." These two statements mean the same thing: you've wasted time, money, and energy creating a project, and now isn't the time for it to come to fruition. It's important to stick with projects you believe in through the inevitable tough times, but we've also seen plenty of folks become obsessed with projects that are doomed to fail, at least in their present state. The good news is, leaving a project for a while can also mean that you can return to it with renewed vitality and fresh ideas later.

If you think you might be in that place with a current project, here are nine questions to ask yourself to help make a decision.

1. Is the team you're working with less motivated about the project than they were on day one?

If the answer is yes, consider moving on.

2. Is your project moving along much more slowly than you had planned?

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The Art and Science of Visual Storytelling

A conversation between Framestore’s Mike McGee and The Drum’s Cameron Clarke at JW London Insights

If you’ve seen a special-effects movie in the last 30 years, you’ve probably enjoyed the work of master storyteller Mike McGee. The Oscar-winning cofounder of Framestore, the legendary digital effects firm behind movies like Gravity and Paddington, sat down for a fireside chat with The Drum’s Cameron Clarke at JW London Insights. The conversation—one of the most celebrated at the conference—shed light on what it means to tell stories in the digital (virtual reality) age and the spectacular power that video brings to the picture.

Below is an edited Q&A featuring excerpts from the fireside chat.

 

Clarke: What does it take to create a story?

McGee: A great story is really a journey—beginning, middle, end. It’s driven by characters that you can make an emotional connection to.

 

C: What are the key ingredients of making content stand out?

M: It’s originality. It’s finding something new and innovative. We spend a long time understanding a brand and coming up with original thinking. We use top-quality Hollywood visual experiences to help us develop the technologies and techniques in-house. That’s where we add the extra value: being creative with not just the idea, but how the idea is applied with tech.

 

C: There’s a lot of self-made viral video online, some with low quality. Do you see that as a blessing or a curse?

M: Both. It means that anyone can create content as you can buy a 360-degree camera for $250. Our challenge at Framestore is always to achieve the best quality for our budget. For a Robinson Squash commercial, we took a flight to zero gravity. We filmed liquid mixing with Robinson Squash in the air, no special effects needed.

 

C: What are the challenges of producing film for small screen devices?

M: The quality of the story is still what’s king. The platform is irrelevant. It’s about creating the right story for the platform . . . knowing the message, understanding the platform, and adapting the content to fit. If you’re making an advertisement on Facebook where people are scrolling, you may only have three seconds.

 

C: How has your creative process changed over the years?

M: We have concentrated creative sessions. We use mathematicians and scientists, fine artists and writers. It’s that mixture of science and art that helps us with problem solving, and we put a team together for the execution.

 

McGee (right) discusses the future of digital storytelling with Clarke.

 

C: Which platforms are getting you most excited?

M: I love VR. I’ve seen people scream, shake, tear their headset off, and I’ve seen them cry. You can really transport people to places. VR and mixed reality open up whole new opportunities for how we interact with our devices. They make story living and not just storytelling—it’s tricking all your senses to move in a physiological and not just emotional way.

 

C: What’s next for visual effects?

M: I laugh at my team—the year we don’t win a BAFTA or Oscar for digital effects is when we have done our best work. No one would know because it will be totally seamless.

We’ve made many creatures over the years, but the ultimate creature is the human being. How long before we can bring dead actors back to life? Or make actors age without a lot of prosthetics? CG is getting good enough to do that. (See Framestore’s Audrey Hepburn Galaxy commercial.)

 

C: Do you think our conception of great storytelling has been changed by technology?

M: If we do our jobs well, it should be a seamless experience watching how stories are told. What’s happening now is the boundaries between what’s real and what isn’t real are so blurred that we can give people genuine experiences that are more than just telling a story. They’re capable of becoming memories. (See Framestore’s Fieldtrip to Mars experience for schoolchildren.)

It’s not visual reality; it’s virtual reality. When we get all those ingredients right and put them in the right kind of experience, we can educate, we can inspire. We can of course still entertain. We have a very powerful medium for changing people’s lives.

****

For more on JW London Insights, visit our video page and read this recap from The Drum.

Missed the event? Don’t worry, we’ll be hosting more events in New York and London in 2018.

To learn more about how to become a video-first publisher, schedule time to talk with one of our video experts.

 

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The post The Art and Science of Visual Storytelling appeared first on JW Player.

7 DIY Cookies That You Probably Have Lying Around Your House Right Now

Did you know you can create beautiful shadows with the same thing you scoop your cat's doo-doo with?

Ah, the magical cookie, a light modifier that helps cinematographers cast cool shadows on their subjects for their films. Whether you want to create a classic film noir Venetian blind effect or something crazy like an intricate lace design, these things will get it done, and what's better is that you can use pretty much anything as a cookie, even your cat's pooper scooper. In this video by Bill Lawson, learn which everyday household items make excellent light modifiers.

I wasn't kidding when I said anything could be used as a cookie. Seriously, anything with a pattern. You can even grab some cardboard, cut your own pattern into it, and boom, you've got a cookie. Here are the ideas mentioned in the video:

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