How Filmmakers Make Emotions Visual

By V Renée

A filmmaker’s biggest task is figuring out how to use images to communicate emotions. How do they do this?

Though it might seem like a bit of a cryptic concept, communicating emotions through visuals is relatively straightforward. There are a number of elements in filmmaking that do the job, and in this video from CineFix we get to learn what they are, as well as how some of our greatest filmmakers, like Alfonso Cuarón, Steve McQueen, and Frank Darabont, combined them to produce some of the most effectively moving and emotional scenes in cinematic history.

So, how do you communicate emotion in a film. Well, there are a few quick and dirty tricks that you can use that are not very subtle, like using an overtly dramatic song, shooting something in slow motion, or having an actor explicitly express an extreme emotion by crying, screaming, etc. (That was the longest alliteration I’ve ever written by accident.)

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From:: No Film School

Director Werner Herzog on Filmmaking

By philcooke


I’ve been reading the fascinating book “Werner Herzog: A Guide for the Perplexed.” I’m a huge fan of the enigmatic German filmmaker, especially his approach to documentaries. Since I’ve been involved producing “The Insanity of God” and “Let Hope Rise: The Hillsong Movie” this year, documentaries have been on my mind a great deal. I particularly love […] continue…

From:: Phil Coke

This Wooden DIY Rig Turns Your DSLR into a Cinema Camera (Sort Of)

By V Renée

DSLRs don’t have as many features as cinema cameras, but this DIY rig simulates their functionality so you have audio, mounting, and power all in one place.

If you’re in for a bit of a DIY project, Caleb Pike of DSLR Video Shooter has come up with a way to add some cinema camera functionality to your DSLR with a handmade wooden rig that houses batteries, top handle, a preamp attached by magnets, and cold shoe mounts for audio receivers (or whatever you want). Compared to most DIY projects we tend to share, this build is a little more labor intensive, requiring some woodworking and about $250 worth of materials, but if you want to house your audio, mounting, monitoring, and power options all in one place, this rig will do the trick.

Pike provides a list of all of the materials you’re going to need to build this rig:

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From:: No Film School

The 30 Best Horror Movies of All Time

By Shane Scott-Travis


Halloween is almost upon us, so what better time to round-up a list of the most scariest films of all time? Before diving into these suspense-filled nightmares carefully wed to celluloid let’s take care of a little house cleaning to clarify how such daunting a task of presenting only 30 films under the banner of “best horror movies of all time” was determined.

There’s a tendency amongst horror fans to venerate their films, and this explains the inclusion of many genre classics in this list. Also, while cinematic masters like Hitchcock could have easily dominated this list, only his most influential shocker is here, similarly the vast and valuable output of Hammer Studios was narrowed down to just one selection, and ditto such directors as Dario Argento, Mario Bava, and George Romero.

Pains were taken to include at least one film from the likes of Lovecraft, one choice cut featuring Vincent Price, one representative of the Universal Studios classic horror icons––all worthy of the list––as well several recent selections were added into the mix to emphasize the continued delectable state of marvellous modern horror.

True, J-Horror is underrepresented (including Kwaidan as we just had to limit our ghost stories to allow room for others), as are splatter films (all due respect to Lucio Fulci, Peter Jackson and Sam Raimi, we love your movies but they didn’t make the cut this time), found footage freakouts (yes, the Blair Witch Project was a game changer but alas, we passed you by for brevity), many horror-comedies aren’t dominant either (with regards to Shaun of the Dead and many others) as we decided to cut lean and go for the ghoulish gold.

We touched on all the tropes, the major nightmare manufacturers, the icons, the eras, the classics, and the bloody benchmarks. While there may be continue…

From:: Taste Of Cinema

10 Famous Movies Completely Different to Their Source Material

By David Zou


In this post-modernist age, it can be argued that there is no such thing as an original film anymore. Everything is stolen, borrowed, remade, re-imagined and re-hashed. Movie ideas now come from books, comics, video games, board games, magazines, newspapers, radio, plays, music, cartoons, TV shows, theme parks, short films and even other films.

However, in the world of filmmaking, one’s loyalty to source material can vary. On one end, you have films like No Country for Old Men, where brothers Joel and Ethan Coen were so faithful to Cormac McCarthy’s novel that they reportedly wrote the script with one brother typing and the other reading from the novel.

On the other end, filmmakers can simply take an idea, character, plot or even just the title, usually an attempt to market a completely different film to the source material’s fans. Some of these films vary from the boring to the outrageous. Some, however, get things just right.

This is not a list of which films are the best, but rather a list of films that have changed more from their subject matter but have still some how worked.

10. I Know What You Did Last Summer


The film that brought about the conclusion of 90’s slasher horror and started a catchphrase that moved from iconic to the satirical. Just like his sophomore debut with the genre bending classic Scream, Kevin Williamson was able to leave his mark on the horror franchise once again. What isn’t known about the film is that it is based on a little known YA novel.

Author Lois Duncan made a name for herself in the 1960’s and 1970’s, writing children’s literature and suspense novel. One of these novels was the thriller I Know What You Did Last Summer. The concept is much the same as the continue…

From:: Taste Of Cinema

Lupo Superpanel – the new 1×1 LED panel output king?

By Matthew Allard ACS


At the IBC Show in Amsterdam recently I came across a new 1×1 LED panel from Lupo. Called the Superpanel, it is available in single colour 5600k and 3200k models,… continue…

From:: News Shooter

How Red Bull gets the ultimate shot

By (Simon Wyndham)

Still/crop from The Fourth Phase

Red Bull is nowadays a name perhaps even more synonymous with action sports and extreme filmmaking than it is with the drink that started the whole show. A new series of films reveals what it takes to produce eye-popping adventure sports videos.

  • Red Bull
  • Planet Earth 2
  • Planet Earth
  • Behind the Scenes
  • video
  • adventure camera


    From:: RedShark News

    Review: Sigma Hits a Home Run with the New 12-24mm f/4 ART Lens

    By Guest Author


    The fall colors here in Ohio are at their peak right now, and for most photographers that means it’s time for wide angle photography. Sigma just so happened to send us their new 12-24mm f/4 Art to try out—what great timing.


    • Same great build quality as the rest of their Art line
    • Same new AF motor as the new 85mm 1.4 Art, and also designed for high MP sensors.
    • Fairly compact
    • Minimum focus distance of ~9.5″


    • Heavy (though very similar to the Canon 11-24 f/4L and Nikon 14-24 f/2.8)
    • Focus ring on hood takes some time to get accustomed to.


    Initial Impressions

    The new 12-24mm Art is built to the same standards as Sigma’s other Art lenses—a very solid feel when holding it, and a lot of quality glass. This is Sigma’s 3rd version of the 12-24mm lens, though it’s the first to have the “Art” designation and a constant aperture (the last one was a f/4.5-5.6).

    The first thing I noticed before even using the lens was that the cap didn’t sit perfectly flush when the lens was at 12mm, though from about 13-24mm it was fine. With this being a sample lens, it may be corrected when the production versions start shipping, but it’s something to look out for.

    This lens will be going up against the Canon 11-24 f/4L, Nikon 14-24 f/2.8G, and Tamron’s 15-30mm f/2.8. The Nikon and Tamron may have an edge with their f/2.8 aperture, but I personally find myself shooting between f/4-f/16 when using really wide lenses. How does the Sigma compare to the other guys in terms of size? Check out the image below (I didn’t have a Nikon 14-24 at the time, but it’s just a bit shorter than the Tamron).

    <img src="×533.jpg" alt="sigma3" width="800" height="533" srcset="//×533.jpg continue…

    From:: Petapixel

    These Creative Water Glass Photos Were Made In-Camera, No Photoshop

    By DL Cade


    These water glass photos are not created in Photoshop. In fact, all photographer Alexandre Watanabe needed to shoot these striking shots was water, two colored plastic sheets, and a little bit of refraction.

    If it sounds simple, that’s because it is. The setup looked like this:


    And even the gear used wasn’t substantial. Speaking with DIY Photography, Watanabe says he used a Nikon D5100, 50mm f/1.8 lens, and a Nikon SB-800 speedlight zoomed in all the way to create the spotlight and natural vignette.

    The final images are, for the most part, straight out of camera. The only editing done in Photoshop was cropping and dust removal because, try as he might, he couldn’t keep the glass clean shot after shot.



    To see more of Alexandre’s work, give him a follow on Instagram, Facebook, and 500px. This is just one creative example, but the rest of his still life/product photography is phenomenal as well—great concepts, exceptional execution.

    (via DIYP)

    Image credits: Alexandre Watanabe/EvilWata Imagery and used with permission.


    From:: Petapixel

    “Too Much Headroom!” The Joy of “Unconventional” Compositions

    By Art Adams

    I’m a huge fan of the TV series Mr. Robot. Not only does it have one of the deepest and most intricate storylines I’ve ever seen on TV, but the photography is wonderful. I’ve been analyzing the compositions and trying to figure out why they work, and doing some of my own experimenting on Instagram. In

    The post “Too Much Headroom!” The Joy of “Unconventional” Compositions appeared first on ProVideo Coalition.


    From:: Pro Video Coalition

    Feelworld G55 5.5″ Monitor

    By Cinescopophilia

    Feelworld G55 5.5″ Monitor

    Here is the rundown from Feelworld for their GS5 5.5″ Monitor: The FEELWORLD G55 has a bright 5.5 inch Full HD 1920 x 1080 high resolution display so you don’t have to carry extra on set monitors and scopes. You can mount it on cameras as a large monitor for the crew, hand it to […] continue…

    From:: Cinescopophilia

    Photos of Apple’s ‘Magic Toolbar’ for the New MacBook Pro Laptops Leaked

    By DL Cade


    Apple just let one of its own secrets slip. The new MacBook Pros are supposed to be announced on Thursday, and it looks like Apple accidentally leaked some photos of the computer and its touch-activated ‘Magic Toolbar.’

    This is the feature we were most excited about when we told you to hold off buying a MacBook Pro Retina a few weeks back, because it has the most potential upside for photographers. The toolbar, which will go where the function keys are now, is basically an interactive touchscreen that changes based on what app you’re using.

    Now, we get to see what that toolbar looks like, thanks to MacOS Sierra version 10.12.1 and some Apple Pay images MacRumors spotted hiding in that operating system.



    These images only show the bar being used for Apple Pay and Touch ID, but the potential for photo editing software is obvious. Suddenly, instead of a fixed number of keys, a program like Photoshop or Lightroom could create a custom toolbar that fits their application. Heck, while we’re here speculating, we would love to see that toolbar change to suit the specific tool or workspace you’re using within those programs.

    It’s not an E Ink keyboard that adapts fully to the app you’re using… but it’s a step in that direction.

    Fortunately, we won’t have to wait long to find out just what this update—allegedly called the Magic Toolbar—can do. The new computers are supposedly being announced at a special event in Cupertino this Thursday, October 27th.


    From:: Petapixel

    John Cho, Cary Elwes, Aja Naomi King, Alia Shawkat to Perform at Academy Nicholl Fellowship Live Read

    By Staff

    Actors John Cho, Cary Elwes, Aja Naomi King and Alia Shawkat will perform a live reading of selected scenes from this year’s five winning scripts at the 2016 Academy Nicholl Fellowships in Screenwriting Awards Presentation & Live Read on Thursday, November 3, at 7:30 p.m. at the Academy’s Samuel Goldwyn Theater in Beverly Hills. Effie […]

    The post John Cho, Cary Elwes, Aja Naomi King, Alia Shawkat to Perform at Academy Nicholl Fellowship Live Read appeared first on Below the Line.


    From:: BLT News

    Anamorphic 5000fps Slowmotion

    By Cinescopophilia

    Anamorphic 5000fps Slowmotion

    Time for some ultra slo-mo. 5000fps anamorphic to precise, from the peeps at Love High Speed. 5000fps shot on new camera with anamorphic 50mm lomo continue…

    From:: Cinescopophilia

    Harmony Korine Channels Nicolas Winding Refn in New Under Armour Ad

    By Emily Buder

    Harmony Korine’s new Under Armour ad builds upon his Spring Breakers aesthetic—but adds Stephen Curry into the mix.

    Before Spring Breakers, Harmony Korine dealt in grit rather than flash. The director, who wrote Kids after Larry Clark discovered him skateboarding in Washington Square Park, built his career exploring America’s underbelly, from the wayward residents of a destitute Ohio town (Gummo) to a group of sociopathic elderly people (Trash Humpers) to a schizophrenic living amidst a perverse and dysfunctional family (Julien Donkey-Boy). With Spring Breakers, Korine ventured into flashier territory, trading grain and unconventional leads for neon lights and beautiful people.

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    From:: No Film School