Are you checking out 'First Man' this weekend?
Damian Chazelle's First Man hitting theaters this weekend, and we had an opportunity to speak with space suit costume designer, prop maker and artist Ryan Nagata about how he designed and built some of the space suit replicas used in the film.
Space suits costumes designed and fabricated for movies such as First Man are of course required to be historically accurate. What does it take to actually make these realistic astronaut costumes?
A lot of hard work...
But if you're interested in building an Apollo space suit, a space suit replica, or any other sorts of elaborate costume designs for your project, then this is the story for you.
Nagata's started making suits for himself from a place of passion and interest. Once he started to post pictures of his work, he started to gain attention, which led to collaborations with and visits from Mythbuster Adam Savage.
Sigma keeps expanding its popular Cine Primes with a new 135mm and the ultra wide 14mm.
Sigma has made a name for itself in cinema glass faster than anyone would've thought. We walked away impressed with the Sigma Cine Zooms when we got to try them a few years back and they have been extremely popular with users. We kept hearing repeated praise from working cinematographers for the company's series of prime lenses, and we had a roundtable discussion with the DP and operators on Sneaky Pete for the SoC earlier this year that was full of praise for its performance despite its light weight (which especially made their steadicam operator happy).
We were excited to try out the full set, including the two newest lenses in the series (the ultra wide 14mm and the long 135mm) on a shoot recently, and we walked away very impressed.
How does the camera change your subject’s life, especially when he’s in the process of risking it?
While finishing up their documentary Meru, husband and wife directing team E. Chai Vasarhelyi and Jimmy Chin first set out to make a film about the world’s most renowned free solo climber, Alex Honnold. Honnold informed them early on that if they were going to make a film about him, he wanted to free solo a route on El Capitan, a 3000-foot overhanging granite monolith in Yosemite Valley that no one had ever free soloed—climbed without a rope—before.
Full disclosure: I’m a climber and have made films that try to explain why someone would risk their life to do it. The particular act of filming a free solo is a thorny subject in the climbing community, and for good reason. On the one hand, it’s a dramatic subject: Doesn't the examination of life or death perfectly fit the point of filmmaking? On the other hand, free soloing is usually a private, highly focused act where filming could inadvertently create enough distraction to cause the climber to fall to his or her death.
Shared storage has long been one of the latter complicated parts of filmmaking, and with Jellyfish, LumaForge makes it almost plug-and-play.
"Can I plug two computers into that hard drive?" It's a question that comes up surprisingly often with intermediate and even advanced filmmakers. The ability to have two or more computers and team members working on a shared set of media is useful on almost any sized production.
Unfortunately, it requires networked shared storage (generally referred to as a server) which costs tens of thousands of dollars. Even worse than the cost is the complication. For filmmakers used to Thunderbolt drives that just boot up on your desktop and that you can move from machine-to-machine, shared networking gets complicated fast, with bids that make no sense and with the requirement that you must set up a service contract to make sure it stays alive.
Chances are you’re reading No Film School because you’re not only obsessed with Hollywood, but you want to be a part of it. But breaking in is never easy. That’s why I think writing short films and even making them yourself, has become a viable option for breaking into the business.
Of course, writing a short film is no simple task, but today I’ll take you through a few great strategies to get your short film ideas on the page, and then hopefully on the screen.
Let’s get going!
But let’s get this out of the way first…
How Long Is a Short Film?
A short film is any film that isn't long enough to be considered a feature. The Sundance Film Festival allows its shorts to be 50 minutes or less. The Academy Awards sets the bar at 40 minutes. Technically this is what qualifies as a short film.
Don’t get too caught up in thinking about these varying lengths. Focus on what you want to do with your short, the world, the characters, the situation, and see where you land.
Luca Guadagnino's 'Suspiria' is more emotional and scary (and emotionally scary) than you might originally realize.
A literal interpretation of a nightmare, Luca Guadagnino's Suspiria is less a remake than a distant cousin to Dario Argento's 1977 giallo classic of the same name. Sharing welcomed similarities in plot and grotesqueness, Guadagnino's period piece deviates from its predecessor in location, backstory, length, and philosophy.
Let's have a look at some insights about film editing from the extraordinary filmmaker, Werner Herzog.
If there's one filmmaker that takes his craft to the extreme, it's Werner Herzog. For example, he moved a ship over a mountain because otherwise, he would be the "man with no dreams." Yes, that's what he said. He went through the minefield walking in from on the cameraman to get the shots he wanted. He also threatened Klaus Kinski with death to get him back on the set and I believe he really meant it.
He directed numerous movies that will be remembered for ages. Among many, we could mention Grizzly Man, My Son, My Son, What Have Ye Done, Fitzcarraldo, or his latest documentary available on Netflix Lo and Behold, Reveries of the Connected World.
You may recall from an article about the eye-trace in fast-paced sequences that the average shot duration for his films in the past 20 years is about 21 seconds, which is very long in comparison to other directors. What he puts on the screen is sometimes bizarre, sometimes weird, but it’s always thought-provoking.
The night HE came home never sounded so good.
While we're one week out from the latest installment in the hugely popular (and revitalized) Halloween franchise arriving in theaters, there have been some non-spoilery tricklings coming in of what to expect.
Universal Studios has enlisted John Carpenter (who contributes to the score for the 2018 sequel in a major way) to discuss, along with his son—musician Cody Carpenter—why the music of the franchise has lasted the test of time, continuing to be an unwavering example of what a score can do to influence mood and style. Let's be honest: when you hear the main theme for Halloween (1978), your ears perk up and you're enveloped in a sudden mindset of dread and terror. Even without context, the music is soft and yet harrowing, unobtrusive and yet ready to burst your eardrums in an oddly beautiful display of menace.
AT&T and Tribeca Film Festival want to help fund and distribute films from underrepresented filmmakers.
If you're a filmmaker from an underrepresented community with a screenplay ready to shoot in 2019, AT&T and the Tribeca Film Festival want to hear from you. Their newest film initiative, AT&T Presents Untold Stories, provides the opportunity for a single filmmaker to receive production funding of up to $1 million, a Tribeca Film Festival premiere, and distribution across AT&T platforms, including DIRECTTV NOW. The chosen winner will also receive mentorship from seasoned industry professionals.
The four runners-up projects will receive $10,000 grants to continue the development of their film.
This episode of Indie Film Weekly is Lynchian, without a doubt.
Erik Luers and Liz Nord get together this week to discuss two of their favorite things: movies and words. They also address some pretty spooky rumors that George Romero may soon be rising from the dead.
Charles Haine joins them to discuss a new camera from his favorite camera company as well as new software from Mocha, Pomfort and Baselight that may end up greatly enhancing your workflow. And in Ask No Film School - what kind of background audio can you use in your short?
As always, the show also brings news you can use about gear, upcoming grant and festival deadlines, this week’s indie film releases, industry wisdom, and other notable things you might have missed while you were busy making films.