The 10 Best Subtle Movie Performances of The Decade

A powerful performance doesn’t need to be flashy or outlandish, but rather the complete opposite; the actor keeps all the emotions internal. They use their body and face as their main instruments instead of makeup and prosthetics to express the cathartic process, character development, or human condition on screen. Therefore, here are 10 recent of the most subtle and powerful performances.

 

10. On Body and Soul (2017) – Alexandra Borbely

A film that explores the depth and connection between dreams and real life between two lonely people, Borbely controls her confusion and shyness to our command. Throughout Ildiko Enyedi’s film, we go back and forth between a modern day slaughterhouse and two deer in a snowy forest. The story slowly unfolds all with Borbely at the center.

Borbely’s blank stare, awkwardness, and abnormal societal approach makes her stand out, much like her character. She is blunt and shy to the point of being cocky and clearly misunderstood. She directs her performance away from cliches or naive shortcoming as some workers comment on her looks. Thus, how does she play this part? Of course, with her companion of dreams and co-worker, played by Geza Morcsanyi, we see other sides of herself on screen.

Borbely delivers a performance that shows how so much thought is present in one’s mind while giving off very little physically or emotionally to those around her, or only those that pay attention; let’s hope one does for the latter.

 

9. Things to Come (2016) – Isabelle Huppert

Things To Come

Possibly the queen of using her face to convey the innermost emotions of her soul, Huppert plays a woman approaching the latter years of her life alone after her husband leaves her. The film is composed of the smallest moments of life, death, and everything in-between without losing humor and insight in Mia Hansen Love’s acclaimed film.

Sure, we see the laughter, crying, and confusion of Huppert’s Nathalie in Paris and the countryside. And we do see her family and professional life with real insight, but Huppert manages to glue us to her by relieving everything of herself despite not knowing what exactly that may be. She is in confusion, her children are older, her mother is delusional, her husband is gone, and her teaching career is up in the air, so we follow her on her daily routines.

The cathartic subtleness of Huppert comes from the smallest moments and observation such as her bond or lack thereof with her mother’s cat, the philosophical relationship with a former student, and long walks in the countryside.

Love has always showed the passage of time with a subtle, contained performance filled with humanity, and Huppert simply soared it to new heights.

 

8. Burning (2018) – Yoo Ah-in

After an eight-year absence from the screen, Lee Chang Dong returned for a glorious physiological thriller filled with dread, isolation, and confusion all lead by Yoo Ah-in’s performance. In the film, he plays an aspiring writer with no clear direction until he meets a girl who once lived in his neighborhood.

The film is filled with heavy themes of confusion, the modern alienation of youth culture, and the times we live in, but somehow Yoo managed to express this all through himself. He is completely unsure of what to make of the situation when the woman brings a successful boyfriend into her life, yet remains a confident approach of who he is. As the plot twists unfold, Yoo never loses sight of what he wants, without directly telling the audience in Dong’s narrative.

Yoo shows how with the slightest gestures or complacent stares can truly make an impact in the given moment and even more rewarding as the film continues to a shocking finale. Again, the ‘less is more’ approach works even better in a film of self-assuredness like this one.

 

7. Measure of a Man (2015) – Vincent Lindon

French lead actor Vincent Lindon has always done excellent work with directors like Claire Denis to Benoit Jacquot. Here, he excels as a recently hired security officer after a stretch of unemployment. In Stephane Brize’s film, we see the economic struggles and hardships that the world is going through a lower middle-class perspective.

As the film progresses, Lindon must report to his boss on employees who take advantage of the system. He simply observes his subordinates and peers from a distance, never interacting or correcting them. For example, an employee scanning their personal rewards card as a regular customer pays for an abundance of supplies. Lindon must report this theft and if not, he will lose his much needed job.

Lindon’s body posture softly sways back and forth as his face becomes more stern due to this moral dilemma. Brize allows the audience to figure out what is going on in Lindon’s head, but Lindon is almost telling you at the same exact time; maybe we just want to refuse it. He is able to craft an observant and demanding performance, where the audience watches much like himself, and we must decide what to make of the situation as well.

 

6. My Happy Family (2017) – Ia Shugliashvili

A film that explores three generations of a Georgian family as one woman repels from its tradition in Nana Ekvtimishvili and Simon Grob’s drama. As the film opens, Shugliashvili, the primary caregiver and mother in the household, is clearly suffering quietly. We can see it in the mannerisms and overall despair with no one else noticing.

Therefore, when she finally decides to leave and live a life on her own, we witness a rebirth in her spirit and soul. Of course, as the drama unfolds and secrets come to fruition, Shugliashvili manages to deal with them more openly, alive, and present, no matter the consequences.

There comes a simple scene in the beginning when she stops to buy an orange as she is clearly depressed. Then after starting anew, she smells all the oranges and happily buys them. The passage of time and more importantly, what Shugliashvili expresses in her body language, is on full display.

Shugliashvili is the link in this film, much like the primary link in her family; therefore, how she manages to balance everything, all within herself to the lack of notice by everyone else, is simply superb.

10 Movies From 2019 With Too High of IMDb Scores

IMDb is one of the most popular platforms for audiences to express their opinions on movies through star ratings up to 10. Looking back at some of these 2019 movies though, some of the ratings seem a little dubiously high. This is not to say that the following movies are bad, but it is to say that audiences may have been a little too generous in their assessment of them.

 

10. Us

Following his great horror/thriller Get Out with this movie, Us is a great example of people convincing themselves that a movie is better than it is. It currently holds a 6.9/10 rating on IMDb. Due to the widespread appeal of Get Out, people desperately wanted Jordan Peele’s next horror movie to be great but upon reflection, it sort of just felt like “meh”.

While Us has plenty of merit throughout, its convoluted story laced with plotholes and heavy-handed approach make it far less effective and regrettably forgettable especially when paired with Get Out. While it should satisfy horror buffs, Peele can hopefully make his next movie something of more universal interest.

 

9. Alita: Battle Angel

An exciting, visual effects extravaganza, Alita: Battle Angel impressed audience with its heavy use of state-of-the-art effects, earning a 7.4/10 on IMDb. However, this response was very subjective as it saw the movie get a disappointing return at the U.S. box office (granted, worldwide it was more popular).

Viewers familiar with the source material flocked to the theatres, leaving everyone else to stay home. Because many people stayed home, they were unable to express a critical opinion on the film and therefore didn’t contribute to the IMDb score. Had they, this movie’s score would be significantly lower as an objective critique of the movie would see it as a movie that satisfies its target audience but very few others. The movie comes across as bombastic noise with little reward and while the effects are impressive, the thinly crafted characters and light narrative make it all for nought.

 

8. Glass

With the exception of The Sixth Sense, Unbreakable and Split are probably M. Night Shyamalan’s most well-received movies both with critics and audiences so a crossover was bound to go over well. As with a number of the different sequels and reboots on this list, audiences let their prior interest take precedent and thus rated this movie well with a 6.7/10. While still lower rated than both of the movies that it crosses over, Glass nonetheless has a score that is simply too high.

A score of 6.7 promises some objective quality but it’s hard to recommend Glass to anyone who wasn’t previously a fan of Unbreakable and Split. In this way, the rating was influenced by little objective critique and as a result is deceptively high.

 

7. Skin

The distribution company A24 has developed a reputation for putting out quality films. Skin, although having plenty of quality moments, just doesn’t rise to the 7.4/10 rating that it received on IMDb. Earning a higher rating than the company’s other critically-acclaimed films like Hereditary, The Witch, and High Life, Skin doesn’t live up to its impressive score. Featuring staples of low production value like constant handheld and jump cuts, it’d be incorrect to say that Skin is amateurish but it would be proper to say that the director needs to mature in style and vision.

While Jamie Bell gives an impressive performance in the leading role, the other characters feel far less nuanced, limiting believability. The movie also feels like its cheaply pandering to people’s strong feelings on a topical issue and such a heavy-handed approach will likely make this movie fade into obscurity as opposed to having the longevity of a movie with subtler substance.

 

6. Booksmart

Everybody loves a good coming-of-age, teen comedy and often times these kinds of comedies makes for the best individual viewings. However, upon reflection, these movies don’t have the longevity that they should. Such is the case with Booksmart which holds a score of 7.3/10 on IMDb. Full of heart and comedy and uplifting values, Booksmart is very good until you realize that it’s a blatant rip-off of Superbad.

Sharing the same plot, two teenagers feel as though they haven’t lived up their high school years and set out to do so before heading to college, as well as too many clichés to list here, Booksmart simply makes commentary that audiences have seen/heard many times before. Pleasing cinematic techniques suggest that Olivia Wilde has promise as a director but the blatant borrowing from movies like Superbad, Can’t Hardly Wait, Easy A, and Edge of Seventeen (as well as many others) makes Booksmart not live up to its title or its IMDb score.

10 Great Recent Comedy Movies You’ve Probably Never Seen

While there have been many brilliant comedy films in the past decade, it’s clear that the era of studio comedies has declined. Mainstream comedy has suffered from excessive remakes, retreads, and a general lack of passion by those involved, so it comes as no surprise that many of the funniest and most memorable films of the past few years have been independent or low budget productions.

Many of these great films have gone on to find their audiences, or at least have attracted niche groups that appreciate them for what they are. However, some films haven’t quite found their audience yet, and still deserve to be discovered. Here are ten great recent comedy films you probably haven’t seen.

 

10. Demolition

Director Jean Marc-Vallee is known for his hard hitting character dramas, including award favorites Dallas Buyers Club and Wild, as well as the two acclaimed miniseries Sharp Objects and Big Little Lies. Demolition certainly has elements of his other work, particularly when it comes to its desensitized, self-destructive protagonist, but it’s also a film infused with a morbid sense of humor. At the epicenter is a marvelous performance by Jake Gyllenhaal as a neurotic banker who is left to literally deconstruct his life by tearing apart his home following the death of his wife.

It doesn’t seem like the premise for a comedy, but seeing the Gyllenhaal character’s odd attempts to reconnect with the world is simultaneously cathartic and amusing. His first impulses are to act with honesty he’s never shown before, and while this at points puts him at odds with his stern father-in-law (played terrifically by Chris Cooper), it also allows him to find a chance romantic encounter with a customer service representative (Naomi Watts).

While Gyllenhaal’s character and his vapid attempts to find meaning in senseless tragedy are occasionally played for laughs, Gyllenhaal and Vallee never treat him like a joke, making Demolition an insightful look at the healing process.

 

9. Win It All

An intriguing mix of mumblecore dialogue and Old Hollywood plot mechanics, Win it All marks another strong collaboration between writer/director Joe Swanberg and Jake Johnson. Johnson excels at playing likeable, yet irresponsible characters, and he delivers one of the best performances of his career as Eddie Garrett, a serial gambler whose caught in over his head after he spends money entrusted to him by a local drug dealer.

The film chronicles Garrett’s journey to not only win back the money, but also to reset his priorities and find a life outside of gambling. Garrett has a chance to start over when he finds a love interest in Eva (Aislinn Derbez), who lets him take a different type of risk by becoming a responsible partner. It’s a playful story of a loser finding redemption, and when Garrett is forced to return to gambling in order to pay off his debts, the tension is palpable as he puts all of his recent achievements on the line.

 

8. The Art of Self-Defense

Riley Stearns’s outrageous black comedy puts a spotlight on how easy it is to be indoctrinated into radical thinking, and uses karate as a means to explore the seductive nature of secretive organizations. Jesse Eisenberg’s character Casey is the victim of a violent assault, and turns to a charismatic Sensei (Alessandro Nivola), who takes it upon himself to turn Casey into a violent, vengeful warrior who is capable of protecting himself.

The humor comes from the performances by Eisenberg and Nivola; Eisenberg is again playing a nerdy, quiet character, and his attempts to become a more masculine, aggressive person are hilarious. Nivola is able to make Sensei goofy and self-absorbed, but it’s never lost on the audience that his words and actions have real ramifications and that his teachings nonetheless inspire a movement. With sick comic violence and some genuinely shocking plot developments, The Art of Self-Defense is a sorely underseen dark comedy based on relevant societal issues.

 

7. Filth

Filth

Filth is absolutely a celebration of excess, based on the shocking Irvine Welsh novel that was often deemed to be unfilmable. It’s not hard to see why an adaptation took so long to come to fruition; the films centers on the dogmatic, corrupt cop Bruce Robertson (James McAvoy), and while there’s a loose plot centering on Robertson’s pursuit of a local killer, it’s a film that revels in elaborate and hallucinogenic dream sequences centering on excessive sex, drugs, and violence.

Robertson is never a likeable character- he’s more obsessed with rising through the ranks of the Scottish police than actually solving any crimes. However, it’s impossible to look away from McAvoy’s performance; he’s so gleefully deviant and uses fourth wall breaking and monologues to show his contempt for both the audience and surrounding characters.

Once Filth makes it clear that Robertson will proceed to control and destroy any situation he’s placed in, it becomes a ticking time bomb as to when Robertson will go too far, and at what point his destructive shenanigans will no longer be funny.

 

6. Brad’s Status

Brad’s Status is one of the most realistic depictions of a mid-life crisis in recent years, with Ben Stiller as a regretful father who takes his teenage son Troy on a college tour. Stiller’s character Brad Sloan doesn’t initially feel like an unfulfilled person, but as he sees his son embark to adulthood and the success of his former friends, Brad can’t help but comparing himself and feeling like his potential was lost on a menial, normal life.

Brad’s largely successful friends, played in memorable side performances by Michael Sheen, Luke Wilson, Jemaine Clement, and Mike White, seem to confirm his fears that everyone around him is happier and more important.

Stiller runs the risk of making Brad come off as too selfish or self-absorbed, but his gradually rising anxiety across the course of the tour shows that this experience in particular is a breaking point. While Brad loves his son, his attempts to give Troy the experience he never had can feel both compassionate and selfish, in that he’s still trying to live out his old fantasies. It’s an incredibly nuanced approach to a father-son relationship, and despite the film’s melancholy elements, Troy and Brad’s love for each other transcends their self-doubt and makes the film ultimately uplifting.

Back to One, Episode 81: Alex Wolff

He’s only 21, but going by the depth of his work and the eloquent way he talks about it, Alex Wolff feels like a seasoned veteran. “I’ve basically been on camera since the sonogram,” he says, joking about his childhood in The Naked Brothers Band with his brother, Nat, on Nickelodeon. Since then he’s knocked out a handful of impressive performances in films like Patriots Day, My Friend Dahmer, and Hereditary. Now he’s written, directed and stars in a labor of love called The Cat and The Moon. He talks about treating his actors like kings and queens on that […]

“It’s Like the Secret Bar or Restaurant in NYC That You’re So Privileged to Discover First….”: Beth Aala on Made in Boise

When one thinks of Idaho, potatoes — not pregnancy — immediately comes to mind. Made in Boise, however, the latest from award-winning filmmaker Beth Aala, will forever change how one views this rugged northwestern locale. Following four gestational surrogates, all devoted mothers with children of their own, who carry babies for women and men (often gay singles and couples) both nationwide and around the world, the doc is an eye-opening look at how this red state-based “unofficial surrogacy capital” of the US is redefining family in surprisingly progressive ways. Filmmaker caught up with Aala (Rancher, Farmer, Fisherman, Supermensch: The Legend […]

“We Have a Contract with our Audience that We Need to Look Behind the Doors”: Marcus Vetter on His Davos Doc The Forum

When one thinks of the World Economic Forum many words come to mind: Davos, global elite, Bono. One term that decidedly does not is transparency. Which is what makes Marcus Vetter’s The Forum all the more remarkable. With this fly-on-the-wall doc the German director (The Forecaster) becomes the first filmmaker ever to be granted behind-the-scenes access to the exclusive organization. Vetter follows the WEFs octogenarian founder Klaus Schwab from the run-up decision-making (Who to pair with Netanyahu? Who’s moderating the Bolsonaro? Who gets a souvenir cowbell?) all the way through the glitzy event itself (one attended by both the Amazon-pillaging […]

“A Scare is an Algorithm”: DP Checco Varese on It Chapter Two

Read a few Checco Varese interviews and you’ll quickly discover that the Peruvian cinematographer likes to talk about his job through similes and metaphors. He’ll compare cinematographers to chefs who shop at the same store and cook with the same ingredients, yet create distinct dishes. He’ll say that partnering with a director is like partnering in a marriage (sometimes for Varese that’s literally true–his wife Patricia Riggen is a director and frequent collaborator). He’ll tell you that a good scare is like an algorithm or that crafting a suspense sequence is akin to nurturing a plant. For It Chapter Two, […]

Phillip Youmans on Making His Feature Debut, Burning Cane, at Age 19

Phillip Youmans isn’t sure if he’s returning to New York University. He’s a sophomore at the venerable institution, but he took the fall semester off because he’s a little busy. Last spring, during the second semester of his freshman year, the filmmaker’s debut feature, Burning Cane, won three awards at the Tribeca Film Festival: Narrative Feature, Cinematography (for him), and Actor for co-lead, the estimable Wendell Pierce. Its executive producer is Benh Zeitlin, of Beasts of the Southern Wild, and it’s being released by Ava Du Vernay’s Array, who arranged a two-city theatrical release before its Netflix drop on November […]

Making-of “Through the Thick” (BTS)

“Through the Thick – Preserving the Rhino in South Africa” is a wildlife documentary by DOP Nino Leitner (https://www.youtube.com/user/thenino). He exclusively used ZEISS lenses for the shoot, and for most of the real-action shots the new ZEISS Lightweight Zoom LWZ.3 21-100mm/T2.9-3.9 T* (zeiss.com/cine/lwz3). In this BTS video, Nino tells about the filming, the challenges and how ZEISS lenses helped him to overcome them.

Learn more ▹ www.zeiss.com/cine
Be part of our community ▹ zeiss.com/cine/social

Through the Thick – Preserving the Rhino in South Africa

DOP Nino Leitner used exclusively ZEISS lenses for the shoot, and for most of the real-action shots the new ZEISS Lightweight Zoom LWZ.3 21-100mm/T2.9-3.9 T* (zeiss.com/cine/lwz3).

Learn more ▹ www.zeiss.com/cine
Be part of our community ▹ zeiss.com/cine/social

ZEISS Hydroflex Underwater Dramatic Shots

ZEISS and Hydroflex teamed up to create a dramatic underwater scene at the Acton Scuba facility, using an Alexa camera, Hydroflex housing and ZEISS CZ.2 Compact Zoom lenses. Lighting provided by Illumination Dynamics.

Learn more ▹ www.zeiss.com/cine
Be part of our community ▹ zeiss.com/cine/social

Exploring the beauty of Wales, United Kingdom | Showreel

New ZEISS CP.3 showreel exploring the beauty of Wales, United Kingdom

Shot with:
ZEISS Compact Prime CP.3 18mm / T2.9
ZEISS Compact Prime CP.3 35mm / T2.1
ZEISS Compact Prime CP.3 50mm / T2.1

Production Company: Ember Films (emberfilms.co.uk)

Creative Director: Jonathan Jones

We recommend to watch the video in 4K (3840 × 2160).

More info: zeiss.com/cine/cp3

Case 10-86 | Showreel

Digital technologies have transformed traditional filmmaking and refashioned the market. New and innovative technologies in both production and post-production have paved the way for a more versatile, cost effective and advanced workflow. The ZEISS Compact Prime CP.3 family is the latest contribution from ZEISS to support creative and progressive filmmaking with an affordable, future-proof and premium quality lens set. Visual effects specialist, producer and director Scott E. Anderson [m.imdb.com/name/nm0027423/] had a chance to test the ZEISS Compact Prine CP.3 XD lenses for the first time.

More info: zeiss.com/cine/cp3

Cast:

DETECTIVE PETERS Michelle Campbell
DETECTIVE KIM Louis Changchien
MS. DIX Aisha Lomax
BAD GUY Manu Narayan
AMY Vienna Kendall

Crew:

DIRECTOR Scott Anderson
PRODUCER Jay Holben
EXECUTIVE PRODUCER & ZEISS REP Snehal Patel
DP Daniel Marks
OPERATOR Jorel O’Dell
AC Ezra Riley
DIT Matteo Saradini
GAFF Jonas Sacks
KEY GRIP King J. Greenspon
SWING John Dallen
ART Brittany Flickinger
MAKEUP/HAIR Bianca Lopez
WARDROBE Asia Lee Edwards
SOUND John Carlos Knox
PA Besi Adut
PA Tan Arcan
BTS VIDEO Joe Rubenstein
POST SOUND MIX Bruce Chianese
EDITOR Edgar Burcksen
ADDITIONAL EDITING Jessica Perlman
DIT/COLORIST Matteo Sardini
POST FX Digital Sandbox
VISUAL FX Crater Studios
BTS EDITOR Jessica Perlman

Improve Your Cinematography | Creating Suspense

Open Submissions for Light This Location 2019 Close on November 11th!
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The same location can be shot hundreds of different ways. You have to let the story you are trying to tell inform your lighting and camera angles. Being aware of how your choices affect the overall feeling of a project is one of the fundamentals skills needed in cinematography. Today, director of photography Laura Odermatt walks us through how to shoot a suspense scene that takes place inside of a phone booth, with specific attention to shooting with reflections.

In this video, Laura shows us the steps she takes when shooting a suspense scene using a phone booth. First, she establishes the scene with a wide angle push-in shot. This sets the tone and the location for the scene. Next, she comes around for an over the shoulder of the character looking at herself in a reflection. This shot allows for a more interesting take on a close-up shot. Then, she pulls out for a profile shot that includes the shadow of the antagonist character coming up behind her. The compressed space in this shot makes the threat feel more immediate. Lastly, she shoots an insert of the character’s phone being dropped as she runs away. This shows the ending of the scene through a unique camera angle.

The main techniques we will be discussing today for shooting with reflections are always wearing black when you’re behind the camera, lighting your subject brighter than the background, and adding texture to reflective surfaces. Wearing black when you’re behind the camera refers to any crew members who are going to be standing behind the camera during a shot. This way they are less likely to appear in the reflection. Lighting your subject brighter than the background means ensuring your subject is brighter than anything else that may also cause reflection. Since glass is only semi-reflective, any bright object behind the glass is going to be distracting in the shot. Adding texture to reflective surfaces means spraying water or adding some other material. Depending on the goal of the shot, texture can add visual interest to the shot, and play up the reflection aspect.

At the end of the day, implementing the visual style that best suits your project is going to be the most important thing. Whether that’s using reflections to show a character’s emotions, or using neon lighting to create a colorful environment for your characters. Whatever your project is, try whenever you can to think outside of the box with your visuals. That will help make your project stand out amongst all the others.

Connect with Laura: https://www.instagram.com/odrmtt/
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🎥How to Light the Cinematic Film Look!

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Introducing the Aputure MC | Mini RGB LED

Any Color. Anytime.

Introducing the first RGBWW LED from Aputure…

The MC is Aputure’s first light to include full Hue, Saturation, & Intensity (HSI) color control. With 360° of hue and 100 levels of saturation adjustment, you have the power to conveniently reproduce any color, all in the palm of your hand.

Aputure is a company made by filmmakers, for filmmakers. This film has been a collaboration with creatives from all corners of the globe, and Aputure would like to thank the incredibly talented directors of photography who contributed to the making of this piece:

– Justin Jones
– Kazu Okuda
– Casey McBeath
– Eric Lombart
– Rocky Luo
– Vento Shi
– Tristan He
– Chetco Timmins
– Brandon Le
– Dave.Amsterdam

Edited by:
– Mitchell Hadley and Brandon Le

Produced by:
– Ted Sim, Benjamin Berg, and Brandon Le

Want more free lighting and cinematography tutorials? Subscribe to us so you never miss an episode: https://goo.gl/QwazdM

🎥How to Light the Cinematic Film Look!

🎥Free Cinematography Lessons From Experts!

🎥Subscribe to Aputure:
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Summary:
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ZCam E2C FOOTAGE – Low light and Exposure recovery

In this video I go through a bunch of tests on the ZCam E2C from dynamic range and low light performance going through every ISO fro, 800 to 25600.

Try this camera out: http://bit.ly/2r18fmL

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ARRI Skypanels – Are they WORTH the money?

Skypanels are the industry standard when it comes to production lighting and the definitely cost the part too. The big question though is are that worth all that dough? In this video, I give a rundown of what these lights are capable of and some of the highlight features. If you want to check out any of the tings I talk about more check out the links below.

Gear Mentioned
Arri Skypanel: http://bit.ly/2Ndk0Oe

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Deconstructing a big budget commercial || Natasha Braier

Deconstructing a big budget commercial || Natasha Braier

This week we welcome Natasha Braier to the channel. She talks to us about a commercial she shot for Hennessy. Natasha breaks down shots on how they were filmed and what lighting was used.


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Filmed with a Sony FS5 and Cooke Mini S4/i Lenses.
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