By V Renée
What does a scene look like that is only lit by residential lighting?
Professional lighting kits make it possible to light scenes just the way you want them (if you know what you’re doing), but many times it’s easy to forget about the practical lights that are most definitely available (and unavoidable) at your shooting location. In order to know how to utilize practicals in the lighting design of your scene, you might want to know how they affect the look of the room when they’re the only light source. In this video, Matthew Workman of Cinematography Database fires up Cine Designer to give you an idea of what you’re in for when using a wide variety of common household lighting, including flush mount, recessed, and floor lights.
From:: No Film School
Darren Aronofsky is the most underrated great director working in Hollywood today; he exists somewhere between David Cronenberg, Roman Polanski, David Lynch, and Luis Bunuel. He has crafted four masterpieces out of the seven films he’s directed, and even the other three have their own merits.
All of Aronofsky’s films are about humanity and how fragile humanity is; most of the time, Aronofsky uses the human body as a symbol for his character’s humanity which is what makes his film so effective because the audience visually experiences the characters’ mental state.
Some of the most visually grotesque body horror has come from Aronofsky’s films. Mother! has its fair share of body horror, but the real brilliance behind it has nothing to do with the use of body horror, and everything to do with the singular vision behind the film.
Mother! has been dubbed the most controversial film of the decade for good reason: it is polarizing critics and most audience members hate the film. However, Mother! is the best film of the year for at least five reasons, but there are many more.
For example, when was the last time a film garnered such a strong reaction from the audience and was as talked about as Mother! is? It has been awhile because film has lost some of its edge, but with Mother!, film has just gained some of it back; Mother! is a film blistering with ambition, and it conjures comparisons to European art house cinema in the golden years.
Not since Lynch made his last film has surrealist cinema been this beautiful and worth celebrating. This is the kind of film that cinema needed and still needs because it is exciting, interesting, unpredictable, complex, ambitious, riveting, hilarious, horrifying, powerful, absorbing, mysterious, intense, deceptive, elusive, layered, awe-inspiring, polarizing, sophisticated, surreal, → continue…
From:: Taste Of Cinema
By V Renée
Expensive cameras and fancy lighting setups aren’t necessarily required to capture beautiful, high-quality footage.
Being a no-budget filmmaker, it’s easy to fawn over all of the pricey gadgets and film equipment used in some of your favorite films. However, if what you’re really admiring is the quality of the images and sound, you don’t really need an ARRI Alexa or MōVI M5 stabilizer to get your own images close to their level. In this video, Simon Cade of DSLRguide shows you how he managed to capture cinematic images using the cheapest camera, audio, and lighting setups possible. Check it out below:
With a complete filmmaking setup that costs less than $540, Cade managed to shoot footage that looks pretty damn good. Here’s what he used:
From:: No Film School
By Al Caudullo
I have always wanted to work with Red Giant Trapcode Suite, but I felt overwhelmed by all the choices and functions. It always seems to be a great product that was going to take an awful lot of time to get up to speed on. And in these days of time equals money, I just couldn’t dedicate the time to learn it all.
With Red Giant Trapcode Suite 14, they have made a huge jump in building a user-friendly interface that is sheer magic. First, let’s quickly go over what you get in the full suite.
The 11 fantastic Tools in Trapcode Suite 14 include:
Trapcode Particular 3
Trapcode Form 3
Trapcode Mir 2
Trapcode shine 2
Trapcode 3D Stroke
Trapcode Star Glow
Trapcode Sound Keys
All of the plugins all of the plugins work in Adobe After Effects with Trapcode Shine, Starglow, and 3D Stroke available in Premiere Pro as well.
The most significant improvements include:
- GPU-Accelerated – Get fast feedback with Trapcode Particular’s new GPU Acceleration through OpenGL. Depending on your system and setup, you could see speed boosts of up to 4X or more over previous versions.
- Designer – Creating particle effects is easier than ever before, in the newly overhauled Designer. Add adjustable blocks with preset behaviors and styles for emitters, particles, physics and aux particles. Or add complete, customizable particle effects with a single click. The designer gives instant visual feedback, making the building and previewing of effects an intuitive and creative experience. New in Particular 3, the Designer respects the AE comp size, bringing in the composition and camera info. Preview your particle layout with camera and emitter position controls.
- Multiple Systems – For the first time, explore endless creative possibilities when you combine multiple particle systems in the → continue…
From:: Student Filmmakers
Two of the biggest photography retailers in the UK are going to officially merge tomorrow. This marks the culmination of a process that was set in motion way back in March when Calumet owner (and former Bowens owner) Aurelius bought Wex Photographic and announced that the Calumet competitor would merge with its former adversary.
If you visit the Calumet UK website today, you’re greeted by the following message:
“From 26 September, Calumet Photographic Limited UK will be merging with Wex Photographic, offering an improved experience and wider range of products to photographers across the UK,” reads the statement. “Later this week, this website will be closed and moved to www.wexphotographic.com.”
The statement goes on to assure Calumet customers that there will be “minimal disruption” to service, and any outstanding pre-orders, back-orders, or vouchers will be honored under the new brand.
For more information about the merger and how it will (or won’t) affect customers, you can visit this FAQ page on the Wex Photographic website.
|Photo by Damian Patkowski|
Apple’s newest macOS operating system, macOS High Sierra, launched today. But if you use a Wacom tablet to do your photo editing, you’ll want to hold off on hitting the upgrade button. It seems Wacom tablets won’t work with High Sierra until the end of October.
The disappointing news was broadcast in a tweet published by the main Wacom Twitter account that read, “We will release a Driver update late October for 10.13 High Sierra. The current driver is not compatible.” If you click on the more info link offered in that tweet, you get this slightly more detailed explanation:
Apple has announced 10.13 High Sierra will be released September 25th. Wacom is currently working on a new driver update to support the new operating system. The new Wacom driver will be ready by late October at the latest. Due to nature of the changes in High Sierra, the existing Wacom driver for 10.12 will not work. To continue to use your tablet uninterrupted, Wacom suggests not to upgrade to 10.13 until the new driver is released.
The news is particularly disappointing given that Apple announced High Sierra months ago, and gave developers access to that beta the very same day. And based on the wording of the announcement, the old driver won’t work at all, so upgrading to macOS High Sierra will leave you Wacom-less for at least a couple of weeks—if you rely on a Wacom tablet for your work, you’ll just have to wait.
Keep an eye on this link to know the instant Wacom releases their overdue macOS High Sierra driver.
How lots of introspection and a little Amy Poehler fairy dust got ‘Difficult People’ made.
There is a long-standing tradition of New York comedians complaining about stuff on television. With Difficult People, Julie Klausner and Billy Eichner take that tradition and make it high parody. In Klausner’s words, their show is “Curb Your Enthusiasm meets Ab Fab” (with Gilmore Girls level pop-culture references). It’s a show about the best friendship between two extremely bitter, unlikeable, thirty-something New Yorkers trying to make it in showbiz, and failing. Basically, it’s a damn good time.
To give you an idea, Village Voice writer Lara Zarum put together a list of just some of the people or entities that Julie and Billy have roasted: Ryan Murphy, Judah Gershom, Game of Thrones, the podcast Serial, The Showtime Network, David Blaine, Donald Trump, Anne Hathaway, Lady Gaga-Tony Bennet duets, Kevin Smith, How to Get Away with Murder, Tim Robbins, Adult Swim, The Fat Jewish, and the entire state of New Jersey.
From:: No Film School
From:: Shoot OnLine
By Alex Ferrari
How Screenwriters Can Navigate the Hollywood System with Scott Meyers For screenwriters, navigating the shark-infested waters of the Hollywood system can be a daunting task. You never know what the producer or studio is looking for. How do you pitch your story properly? So many questions. I hope today’s guest can help guide you a…
The post IFH 185: How Screenwriters Can Navigate the Hollywood System with Scott Meyers appeared first on Indie Film Hustle.
From:: Indie Film Hustle
These days, capturing professional-looking video no longer requires Hollywood-sized budgets. But does that mean that there’s no longer much advantage to Hollywood-quality gear? Let’s find out. Gene of the YouTube channel Potato Jet pegged his Canon 80D setup against an Arri Alexa setup that costs upwards of $80,000 and filmed several scenes with both cameras rigged up side-by-side.
Unlike his previous (very popuplar) iPhone 7 vs Arri Alexa video, this one is a bit more of a fair fight—the sensor area used to shoot most formats on the Arri is much closer in size to the 80D sensor than the iPhone, and one of the cameras isn’t a freaking smartphone.
Of course, the difference between the footage is still immediately obvious—who would have guessed an $80K setup would shoot better footage than a $3,000 setup?—but the side-by-side comparison is fun and interesting to watch all the same. That’s because Gene doesn’t just point out the differences in the dynamic range and quality of the video from the two cameras, he outlines the pros and cons of using a small light-weight DSLR like the 80D vs a cinematic powerhouse like the Arri Alexa.
Check out the full comparison for yourself up top, and if you want to see more from Gene or consider yourself an amateur filmmaker, definitely subscribe to Potato Jet.
Disclosure: I’ve never done therapy, although it has certainly been suggested over the years. Any recent therapy-curiosity was tempered by watching a couple of episodes of the Naomi Watts/Netflix series Gypsy, which made seeing a therapist seem like being the unwitting subject of a Sophie Calle art piece. Offering a point-of-view both more optimistic and realistic are, timed to National Therapy Day, six new shorts from directors Alex Karpovsky and Teddy Blanks in which five women and one man discuss their various experiences in therapy. Director Kimberly Peirce talks about an experience in couples therapy, author Susan Orlean talks about […] → continue…
From:: Filmmaker Magazine
For the past few months I have been working on a really comprehensive training series designed to help you shoot more cinematically. It is an 8 part series of over 8 hours which covers a huge amount of topics. You can read about below and do check out the promo too! Episode 7 is all about […]
The post New mini-doc “The Pole Dancer” made as part of my new Cinematic Masterclass training series appeared first on Philip Bloom- Blog.
From:: Philip Bloom
By Liz Nord
Is there anything this prolific director can’t do?
Can’t wait for Paul Thomas Anderson’s next feature, Phantom Thread, in December? Neither can we. Fortunately, the multiple Oscar-nominated director has just released a 14-minute short to stave off our hunger.
Having successfully tried his hand at everything from epic, stylized period dramas to absurdist comedies, PTA got a taste for music documentaries with his last feature film, JunJun, a feature doc about the album of the same name created by an international collaboration between Radiohead’s Jonny Greenwood and musicians from India and Israel. Now, he combines his penchant for making music videos for the likes of Joanna Newsom and Aimee Mann with that music doc experience to bring us Valentine, a 14-minute hybrid music video and behind-the-scenes doc for the band HAIM.
From:: No Film School