The Way of the Scissor People | Tales from the Cutting Room Floor The Way of the Scissor People Posted by guyducker on July 14, 2015 · 1 Comment How to Work with an Editor ☛ I wrote some time back encouraging directors to work with editors, rather than cutting their own material. My advice relates to editing drama, which is what I know best, although some of it may also apply to cutting documentaries and other types of film. Woody starts his editing process before the film has even been exposed. One of the big questions is how much room you give your editor? At the other end of the spectrum, John Ford would rarely attend the edits of his films at all; he saw his job as being to direct the shoot, and would be calling ‘action’ on the next one before there was a first cut of the movie he’d just shot. There’s no one way to work with an editor: it depends on the director, on the editor, on the project and on at what stage of the production process the editor is starting. John Ford, not a fan of the great indoors. Oh, and don’t grab the mouse without asking. xx
VIDEO COPILOT | After Effects Tutorials, Plug-ins and Stock Footage for Post Production Professionals Yo Andrew! Where are all the Tutorials!?! A reasonable question actually. I don’t have a simple answer but maybe I can share a bit of my process with you. This year I’ve been working on a bunch of amazing content for Video Copilot! My goal was to dig deep into default plug-ins and try to find things that were NEW and interesting! The cycle begins! ACTUAL PROCESS From the last couple of weeks: As you can see, every deviation would evolve into something new. The problem is that everything can be a little bit better. The truth is that I care a lot about making Tutorials. There is a certain satisfaction from trying to use 100% built-in After Effects Plug-ins. But I also get that it’s frustrating to hear “Coming soon” so I’ve been trying not to talk about things until they are done. Needless to say, Tutorials are not dead, in fact this process has lead to some incredible techniques and content that I can’t wait to share! BTW, If you are at NAB this week, please drop by the Adobe booth!
Who Directed the Shower Scene in PSYCHO? The murder of Marion Crane is one of the most iconic and memorable scenes in film history. In 1960, Alfred Hitchcock shocked the viewers by killing the lead actress only 30 minutes into PSYCHO. The scene took 7 days to film in December of 1959. Of the 77 camera set-ups captured that week…only 51 shots were used in the final edit. It has been studied and analyzed ad infinitum by filmmakers, cinephiles and scholars…but what I find interesting about the shower scene is how ‘un-Hitchcockian’ the angles and editing are compared to almost all his other work. What’s even more interesting is that both Alfred Hitchcock and Saul Bass claimed to have directed this scene. Both Alfred Hitchcock and Saul Bass claim to have directed this scene The collaboration between Saul Bass and Alfred Hitchcock started with the the famous title sequences for Vertigo and North by Northwest. The 48 storyboards Saul Bass created for PSYCHO (Click to Enlarge) Janet Leigh: “Mr. Until next time… Vashi Nedomansky @vashikoo
Blackmagic Design acquires Fairlight - PSNEurope Manufacturers of creative video technology, Blackmagic Design, has acquired Australian company Fairlight, which creates professional digital audio products for live broadcast event production, film and television post production, as well as immersive 3D audio mixing and finishing. Grant Petty, Blackmagic Design CEO (pictured) says: “Fairlight creates the world’s most powerful digital audio software and hardware for video production. The exciting part about this acquisition is that it will add incredibly high end professional audio technology to Blackmagic Design’s amazing video products. We look forward to working with the Fairlight team to build even more exciting new products for our customers!” PSNEurope spoke to Fairlight’s CEO, Philip Belcher, back in July. For post production, Fairlight creates everything from compact desktop audio post systems to large format mixing consoles with dedicated controls. Blackmagic Design has offices in the USA, UK, Japan, Singapore and Australia.
Film Studies 101: A Beginner's Guide To Aspect Ratios, Feature | Movies - Empire A point of pride for many film buffs is a knowledge and love of aspect ratios. You can often hear their excited gasps of delight in any cinema showing the new, pristinely presented Wes Anderson, or see them stomp off to see the management if the local multiplex isn’t projecting a Coen Brothers film in quite the correct ratio. Yet with all the various incarnations of image sizes over the years, it’s easy to get lost or confused. Never fear – if you’ve ever wondered about the difference between Academy Ratio and CinemaScope, or why the hell your TV is shaped the way it is, Empire can make it all crystal clear… The Basics The essential idea behind aspect ratios is pretty simple. If your mental arithmetic is particularly quick, you’ll have noticed that 4:3 is the same as 1.33:1. In The Beginning... Over a century ago, the very first films were projected in the ratio mentioned above: 4:3. This ratio ruled in Hollywood for the next twenty years. Go Wide Switching It Up Home Comforts Shape Shifting
Has a Line Been Crossed? | Tales from the Cutting Room Floor Has a Line Been Crossed? Posted by guyducker on October 22, 2014 · 6 Comments Directing tip # 1: Crossing the Line The first rule of filmmaking most students learn in film school is ‘don’t cross the line’. I’ve met those who see this rule as one of the few inviolable principles of directing for the edit, and others who think that movie grammar has outgrown this quaint prohibition. So, crossing the line: what does it mean? The rule gets more complex when more than two characters are involved. So why bother? Crossing the line can also confuse our sense of the geography of the location, which might be crucial to our understanding of the scene. Looks like we’re stuck with obeying that line rule then. There are a number of well-established tricks for crossing the line. Recently my attitude to the line has changed somewhat. There was another example: a long two-handed dialogue scene, with one character seated and the other moving around the room. xx Copyright © Guy Ducker 2014 Like this:
The most culturally important horror movies | Stephen Follows I am currently working on a long-term project about horror movies, which should be ready early next year. In the meantime, the occasion of Halloween affords me a good excuse to start to talk about the genre, specifically which are the most culturally important horror movies. As part of my research, I wanted to find a way to measure the cultural impact of horror movies. Clearly, this is a huge topic upon which PhDs can be claimed so I shall limit this to a very narrow question: Which horror movies have been referenced most often in other movies and TV shows? Which are the most culturally important horror movies? Using data from IMDb and Wikipedia, I put together a dataset of the most-referenced horror movies. The references tracked here include a wide variety of mentions, from a line of dialogue right through to a full-blown parody or spoof. Interestingly, Psycho is more often referenced in movies than in TV shows. Notes Epilogue
Since The 1980s, Jeff Bridges Has Done Something Incredible On The Set Of All His Movies. Since the 1980s, Jeff Bridges has been taking set shots and behind-the-scene photos from all his films with his unique panoramic Widelux camera. His consistency is amazing. Photo credit for these amazing creations goes to Jeff Bridges. You can see more on his website. ‘The Big Lebowski’ (1998) The Stranger and The Dude (aka Sam Elliot and Jeff Bridges) at the ‘Lebowski’ bar. ‘True Grit’ (2010) Jeff takes a selfie with a lynching vitctim. ‘Crazy Heart’ (2009) Jeff Bridges catches Maggie Gyllenhaal relaxing. ‘Blown Away’ (1994) Father and son steal a shot between takes. TRON: Legacy (2010) A risque pic during the dream sequence on the set of the Coen Bros.’ absurdist masterpiece. ‘Iron Man’ (2008) ”The Big Lebowski’ (1998) The two opposing teams finally shake hands The Jesus (John Turturro) hurls one down the infamous bowling alley setting of ‘Lebowski’ Fearless (1993) In a hallway in Gary Busey ‘The Fabulous Baker Boys’ (1989) Michelle Pfeiffer prepares to sing her big number, Sinatra’s “Makin’ Whoopee.”
Movies in Color - A website featuring stills from films and their corresponding color palettes. Future-proofing Media Workflows through Software-Defined Storage The soaring demand for high-resolution video content across the entire media ecosystem is placing immense pressure on production workflows and media storage infrastructure. To adapt and thrive in the new high-res era, organizations need advanced media storage that streamlines workflows and simplifies file management. In their new white paper, Frost and Sullivan explore the storage challenges facing both organizations and production teams, alike. The paper discusses how new software-defined storage can help media organizations adapt to unpredictable changes—and keep production moving. Discover how software-defined storage streamlines, and accelerates workflowsLearn how intelligent storage helps you tailor capacity, performance, and more The marketplace is changing rapidly, and your ability to thrive depends on having a dynamic media management workflow. Learn more about Avid NEXIS. Please complete the form below to download the white paper.
Inspirational Podcast: Editing ‘Mission Impossible’ with Eddie Hamilton news and informationsautomotive,business,crime,health,life,politics,science,technology,travelautomotive,business,crime,health,life,politics,science,technology,travel So I just returned from the cutting rooms of ‘Mission Impossible: Rogue Nation’ where I interviewed my good friend Eddie Hamilton about his experience editing the movie, and his journey to this point. I have known Eddie for 20 years now and this podcast is classic Eddie Hamilton advice and worth its weight in gold. Core to his success, aside from his clear talent and massive enthusiasm, has been a number of tactics which we discuss in the podcast, including the importance of delivering your very best every day, the value of relationships (both at home and professionally) and having a sense of gratitude for every opportunity. I had the privilege of being invited to a test screening of the film a month or so back and while it was not completed at that point, it was for me, the best Mission Impossible film to date.
Unveils True Cloud Editing in Collaboration with Adobe Anywhere at NAB 2015 : Aframe Combined technologies enable broadcasters and content producers to edit large-scale video projects remotely and securely and eliminate large capital outlay for infrastructure/equipment Las Vegas, NV, April 9, 2015: Aframe is ushering in the era of true broadcast-grade cloud editing with a technology demonstration of Aframe’s cloud video platform hosting Adobe® Anywhere, the collaborative workflow platform that enables teams to work together and create productions from virtually any location where there is network connectivity. The combined solution, ‘Adobe Anywhere in the Cloud delivered by Aframe,’ will enable broadcasters and content producers to edit large-scale video projects remotely and securely and eliminate large capital outlay for infrastructure and equipment. It is being unveiled at NAB 2015 in Aframe’s booth SL10210. By running Adobe Anywhere within Aframe’s cloud platform, teams can collaborate without limits. How it works < back to blog home
Martin Scorsese Creates a List of 39 Essential Foreign Films for a Young Filmmaker Eight or so years ago, young filmmaker Colin Levy got an opportunity of a lifetime. He got a one-on-one meeting with Martin Scorsese. After spending much of his time in high school making a five-minute short, Levy won the national YoungArts award -- and, with it, the chance to chat with the guy who directed Goodfellas, Taxi Driver and Raging Bull. After getting a personal tour of Scorsese’s office and editing bays by none other than legendary editor Thelma Schoonmaker, Levy met the man himself. “It was a defining moment in my path as a filmmaker,” he later wrote on his blog. A couple weeks later, Scorsese’s assistant sent him a handful of books and 39 foreign movies personally picked by the filmmaker. Scorsese’s selections – which you can see above – are a fascinating insight into what influenced the filmmaker. At least the first few films on the list you will find in our collection, 1,150 Free Movies Online: Great Classics, Indies, Noir, Westerns, etc.. via Huffington Post
‘Deepwater Horizon:’ How the Sound Team Put Viewers On The Oil Rig | Hollywood Reporter The sound team on Deepwater Horizon, director Peter Berg’s account of the 2010 oil rig explosion in the Gulf of Mexico, which opens Friday, focused on realism starting with extensive research that even came down to examining the procedures involved on the rig that were featured in the story. “Our goal was always to involve the ear of the audience in the characters and how involved, difficult and engaging the mission of oil exploration can become,” says the film’s seven-time Oscar-nominated sound designer Wylie Stateman. “After all, the story of the Deepwater Horizon is not so much one of only destruction but of the many participants putting life, career and integrity on the line in pursuit of hard-to-reach sources of energy.” The sound team, he says, also wanted to create “hold-your-breath tension and a feeling of documentary-like immersion,” which meant giving the viewer the sense that he or she is enveloped in the life of those in offshore oil exploration.