In today's video, we'll cover key film blocking techniques that master directors use to create memorable scenes. Grab the FREE film blocking worksheet to stage scenes better: http://bit.ly/2A8cEIq

We’ll learn about directing actors and the basics of film blocking.

Does the idea of watching two people having a conversation sound exciting? Probably not. You probably wouldn’t pay money to see that. And yet you do every time you go to the movies.

How have so many filmmakers managed to make those conversations exciting?

Well, one big way is with film blocking. Film blocking is the “precise staging of actors in a performance”. In terms of cinema, it’s where you place your actors in the frame.

It’s more than who stands where. Film blocking conveys the mood and tone you convey with what happens in the frame. We’ll use film blocking and mis-en-scene to bolster your knowledge so you can take everything you learn on set.

We’ll incorporate Film Theory, Film Criticism, and practical reasoning to show you how to get the most out of your efforts.

In this video you’ll learn about Space, Shapes, and Lines in film blocking. By considering these components, you’ll be able to block a scene between any subjects in a visually dynamic way that is loaded with subtext.

So start watching and learn more about film blocking today!

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The films in our video:

Baby Driver
Inglourious Basterds
O Brother, Where Art Thou?
We're the Millers
Manhattan
Get Out
Whiplash
The Wolf of Wall Street
Fight Club
The Social network
The Neon demon
Birdman
La la land
Citizen Kane
Ex Machina
The Wolf of Wall Street
The Grand Budapest Hotel
Sin City
Oblivion
2001 - Space Oddesy
Kill Bill
The Grand Budapest Hotel
Guardians of the Galaxy
Sin City
Godfather Part 2
Seven
American Psycho
Drive
Enemy
Inglourious Basterds

The music::

"Aspire" by Pryces: http://bit.ly/2wbQyj6
"The Seventh One" by Kevin Graham: http://bit.ly/2w7pQIt

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Movie genres explained — a filmmaker’s guide to Hollywood film genres and their conventions, how film genres are made, and why they are so important to understanding the relationship between audience and filmmaker.

Film & TV Genre Conventions Explained ►► https://bit.ly/wi-ge
Ultimate Guide to Movie Genres ►► https://bit.ly/cl-gt
StudioBinder Blog ►► http://bit.ly/sb-bl

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Chapters:
00:00 - Introduction to Film Genre
00:52 - Genre Definition & History
01:44 - The Purpose of Genre
04:41 - Plot
07:29 - Characters
09:31 - Presentation
11:46 - Creative Exceptions
16:26 - Takeaways

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WHAT ARE MOVIE GENRES

Most films belong to at least one (sometimes many) of the various movie genres. Whether you’re browsing a video store or Netflix, you can see all kinds of movies separated into categories. Drama, comedy, horror, romance, etc. But what are movie genres, really? Or perhaps a better question is how are film genres created in the first place? This video is an introduction to film genres, how they work, how they’re created, and why filmmakers should know film genres and their conventions.

WHERE DO MOVIE GENRES COME FROM

The term ‘genre’ comes from the French meaning “kind” or “sort.” But the concept of genre goes back to Ancient Greece where writers like Aristotle started with only two genres: poetry and drama. Since then, in theater, literature and eventually film, we’ve seen a multitude of categories. The type of movies we see today have been molded and refined over centuries, splintered off into smaller categories called subgenres. This process can be understood as a form of evolution, where less popular genres die out and those that remain relevant and interesting thrive to this day.

FILM GENRES AND HOLLYWOOD

Hollywood is an industry built by combining art with commerce. If certain movie genres make money, Hollywood makes more of them and vice versa. When the studios advertise their latest film, they almost always lean heavily into the genre. This is because audiences want to know what kind of story they’re going to be told. Movie stars are a big draw, but the type of movie is arguably the most important deciding factor.

FILM GENRES AND THEIR CONVENTIONS

So, how are movie genres constructed? We can boil the ingredients down to three essentials — plot, characters, and presentation. Subgenres like zombie movies or romantic comedies often function with recognizable patterns in their story structures, types of characters, and the formal elements of their presentation (cinematography, editing, music, etc.).

SUBVERTING FILM GENRES

Audiences want to know what they’re getting. On the other hand, it can’t be too familiar either. There should be enough familiarity with a dash of something unexpected. And there are a number of ways filmmakers are successful at subverting film genres. One is switch genres at some point in the story. Another is to work with hybrid genres — films that blend two or more genres from start to finish.

Once writers and directors understand these “rules” and expectations, they will be better able to deliver what the audience wants along with something unexpected.


#FilmTheory #VideoEssay #Filmmaking

─────────────────────

♬ SONGS USED:

“The Throne Room” - John Williams
“Walk Hard” -
“Skip to the End” - The Futureheads
“Quantum IV” - Makeup and Vanity Set
“Outlandish d’Amour” -
“Wait for Me” - Vangelis
“Cornfield Chase” - Hans Zimmer
“Susanne” - Weezer
“Hurry Gurdy Man” - Donovan
“Carbon Dioxide” - James Horner
“Re-Entry Splashdown” - James Horner
“We Belong Together” - Randy Newman
“Down to Earth” - Peter Gabriel
“Beyond the Sea” - Bobby Darin
“Danke Schoen” - Wayne Newton
“Vespertilio” - Hans Zimmer
“Doc Returns” - Alan Silvestri
“Salome” - Makeup and Vanity Set

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Music by MusicBed ► http://bit.ly/2Fnz9Zq

─────────────────────

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Hear More of the Best Movie Soundtracks ►► http://bit.ly/best-movie-songs
More Directing Videos ►► http://bit.ly/2SMTez2

In this filmmaking video essay, we look at some of the best movie soundtracks to see how filmmakers’ music cues — or “needle drops” — create iconic cinema. The term “needle drop” refers to when a popular song is placed strategically in a scene. Here, our case studies of epic movie soundtracks are American Psycho, Thor: Ragnarok, and Almost Famous.

In a scene that famously features Huey Lewis and the News’ “Hip to Be Square,” the American Psycho soundtrack creates cognitive dissonance for viewers, juxtaposing the song’s upbeat tone with a grisly murder. The Thor: Ragnarok soundtrack uses Led Zeppelin’s “Immigrant Song” to celebrate its fallen hero’s return to glory. And the Almost Famous soundtrack cues up Elton John’s “Tiny Dancer” to create a moment of release for its characters at the film’s climax.

The needle drops in truly great movie soundtracks are designed to affect audiences in an extremely specific way. Some of these movie songs are tied directly to the plot, while others may intentionally offset the film’s tone to create irony.

Discerning directors also use music to introduce leitmotifs, and we’ll take a look at that, too — from Jaws to The Godfather to The Royal Tenenbaums. So, with our eyes and ears open, let’s explore the monumental importance of soundtrack in film.

—

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Music by Artgrid ► https://utm.io/umJy
Music by Soundstripe ► http://bit.ly/2IXwomF
Music by Music Vine ► http://bit.ly/2IUE0pT
Music by MusicBed ► http://bit.ly/2Fnz9Zq

—

SUBSCRIBE to StudioBinder’s YouTube channel! ►► http://bit.ly/2hksYO0

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What is Virtual Production — an introduction to the latest filmmaking technology, including how virtual production works, the pros and cons, and why it may be here to stay.

What is a Virtual Production? ►► https://bit.ly/wi-vp
StudioBinder Blog ►► http://bit.ly/sb-bl

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Chapters:
00:00 - Introduction to Virtual Production
01:03 - History of Virtual Production
03:46 - Chapter 1: How It Works
06:42 - Chapter 2: Built-In Lighting
09:50 - Chapter 3: Flexible Locations
13:46 - Takeaways

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VIRTUAL PRODUCTION EXPLAINED

If you’ve been paying attention to current filmmaking technology and techniques, you’ve likely heard of virtual production. On shows like The Mandalorian and films like The Batman, virtual production seems to be the next big thing in how projects are shot. But how does virtual production work, and is it really the wave of the future or just another Hollywood tech fad? In this video, we will dive into these topics as we explore the pros and cons of virtual production in film and TV.

WHAT IS VIRTUAL PRODUCTION

In short, virtual production is a broad term in which live-action and virtual elements are captured simultaneously. To explain how virtual production works, we need a quick lesson in film history. For decades, filmmakers have “cheated” backgrounds with techniques like rear and front projection. Then green and blue screen technology became the dominant way to composite real foregrounds with fake backgrounds in a process called “keying.”

But all of those technologies have drawbacks. Virtual production is something of a hybrid between the projection and keying systems of the past, with improvements in both. Let’s discuss how virtual production works.

HOW VIRTUAL PRODUCTION WORKS

The most common virtual production setup these days is a set surrounded and covered by LED walls. On these screens, any background can be shown. Usually, these are CG backgrounds created by software like Unreal Engine, mostly known for creating video game environments. One thing missing from the original rear- and front-projection systems was something called parallax — when background elements move according to the camera's movement. But in a virtual production setup, the camera has trackers that connect its position to the background software, effectively eliminating this parallax problem.

THE PROS AND CONS OF VIRTUAL PRODUCTION

Virtual production benefits film and TV productions in a few ways. The lighting emitted from the LED walls matches the scenes exactly. The production can switch “locations” easily. The actors have an environment around them instead of a blank green void. Atmospherics like rain or smoke can be captured live on set. And as mentioned, it solves the parallax issue.

But there are drawbacks to virtual production as well. To shoot on a soundstage with a full virtual production setup like The Mandalorian is highly expensive. Low-budget alternatives are emerging, however. Even though realistic parallax is possible, the camera movement is still limited to the confines of the set. At the moment, direct hard sunlight is hard to capture realistically, which limits most exterior settings to darker or overcast conditions.

So, that is a quick introduction to how virtual production works. It solves a lot of problems in film and TV production, but it doesn’t solve them all.


#FilmTheory #VideoEssay #Filmmaking

─────────────────────

♬ SONGS USED:

“Nonplus” by Makeup and Vanity Set
“Royal Blue” by Makeup and Vanity Set
“Reborn” by Bradford Nyght
“Quantum IV” by Makeup and Vanity Set
“Only Fire” by Makeup and Vanity Set
“Crush” by Makeup and Vanity Set
“The Garden” by Makeup and Vanity Set
“The Marshal’s Tale” by Ludwig Goransson
“Get The Child” by Ludwig Goransson
“Invaders on Their Land” by Ludwig Goransson
“The Journey Begins” by John Williams
“Discovery” by Makeup and Vanity Set
“Mando is Back” by Ludwig Goransson
“The Batman” by Michael Giacchino
“Tannhäuser Gate” by Makeup and Vanity Set
“A Thousand Years” by Ludwig Goransson
“Great Leader Has Fallen” by Makeup and Vanity Set
“Legends Never Die” by Timbr

Music by Artlist ► https://utm.io/umJx
Music by Artgrid ► https://utm.io/umJy
Music by Soundstripe ► http://bit.ly/2IXwomF
Music by MusicBed ► http://bit.ly/2Fnz9Zq

─────────────────────

SUBSCRIBE to StudioBinder’s YouTube channel! ►► http://bit.ly/2hksYO0

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Stage your Scenes like a Pro ►► http://bit.ly/31MhtR7

Today’s video is a scene analysis and video essay on staging and blocking your scenes like Spielberg’s Minority Report, Kubrick’s A Clockwork Orange, and Inarritu’s Birdman.

There are a few secrets to directing a cinematic scene. Above basic filmmaking theory is the actual craft of filmmaking, which includes staging and blocking your scenes in your films or television shows.
This is something you can learn without the need for film school because composition in film is something you can only learn through careful film analysis and on set experience as a director.

Blocking in film can seem simple enough until you actually step on set, and that’s when you learn that directing a movie is far from easy. Our video essay and film analysis explains some of the profound and subtextual decisions made during scenes in Spielberg’s Minority Report, Kubrick’s A Clockwork Orange, and Inarritu’s Birdman.

Film directors have to juggle the script, the talent, the camera, staging, blocking, and they’re responsible for every creative decision on a movie or television show. This video essay and film analysis will go over blocking in film, composition in film, and teach you some of the most important lessons you can learn on how to direct actors and staging your scenes.

Our filmmaking tips will help you build better scenes that convey an idea to the viewer while also entertaining the viewer. Our video will show you how to shoot and direct a scene like Spielberg’s Minority Report, Kubrick’s A Clockwork Orange, and Inarritu’s Birdman.

This lesson is like a free online film school that covers composition in art, directing movies, Filmmaking tips, blocking in film, composition in film, and how to direct actors. By the end you’ll have a better idea on how to direct a scene and movie like the masters.

Spielberg’s Minority Report, Kubrick’s A Clockwork Orange, and Inarritu’s Birdman

#blockingmovie #stagingscenes #directingmovies


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Music by Soundstripe ► http://bit.ly/2IXwomF
Music by Music Vine ► http://bit.ly/2IUE0pT
Music by MusicBed ► http://bit.ly/2Fnz9Zq

—

SUBSCRIBE to StudioBinder’s YouTube channel! ►► http://bit.ly/2hksYO0

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Try StudioBinder for FREE today: https://studiobinder.com/pricing

— Join us on Social Media! —

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Darius Khondji Cinematography Techniques — a cinematography breakdown of one of cinema’s greatest DPs, including a look at techniques such as lighting, exposure, and color.

Darius Khondji Cinematography Techniques ►► https://bit.ly/ct-dk
Roger Deakins Cinematography Techniques ►► https://bit.ly/rd-ct
Hoyte Van Hoytema Cinematography Techniques ►► https://bit.ly/ct-hh
StudioBinder Blog ►► http://bit.ly/sb-bl

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Chapters:
00:00 - Intro to Darius Khondji
01:00 - Darius Khondji's Approach to Cinematography
02:06 - Chapter 1: Extreme Exposure
06:54 - Chapter 2: Lighting From Above
10:55 - Chapter 3: Green & Gold
15:20 - Takeaways

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DARIUS KHONDJI CINEMATOGRAPHY

You may not know his name but you’ve certainly seen his work. Cinematographer Darius Khondji has been behind some of the best films of the last few decades. Working with celebrated auteurs like David Fincher, Jean-Pierre Jeunet, Bong Joon-ho, the Safdie Brothers, James Gray, and Alejandro González Iñárritu, Khondji’s style blends with each director’s aesthetic. And, yet, there are some clear throughlines we can see. In this episode of Cinematography Techniques, we’ll break each of those down, including his approach to exposure, overhead lighting, and the colors green and gold.

One of Khondji’s stylistic strengths is how he approaches exposure. In Se7en, extreme underexposure creates dark and sinister interiors. Added to this was a bleach bypass treatment of the negative that increases contrast and desaturates color. The overall look is bleak, which fits perfectly with the subject matter and the themes at play.

Another one of Khondji’s preferences is overhead lighting. Depending on the context, this type of lighting has various effects. In Okja, for example, Mija and her eponymous friend walk passed massive pens with other super pigs preparing for slaughter. The overhead lights cast hard downward shadows on her face as the blue moonlight adds a layer of melancholy.

Finally, no matter the director or project, Darius Khondji clearly has a thing for green and gold. Sometimes in isolation, sometimes in combination, they add a distinct look and feel from the usual blue and orange. In a film like The City of Lost Children, the highly saturated greens mix with almost nostalgic golds. These competing colors match the competing forces at work — the innocence and warmth of children against the nightmarish plot of a scientist out to steal it from them.

Darius Khondji cinematography is unlike any other. And in the process of aiding these auteurs to manifest their visions, Khondji has created a visual style that is rich, edgy, and inspiring.


#FilmTheory #VideoEssay #Filmmaking

─────────────────────

♬ SONGS USED:

“Flashing Lights” - Kanye West
“New Digs” - Thomas Newman
“Windows” - Daniel Lopatin
“Smoothie” - Daniel Lopatin
“The Godfather Waltz” - Nino Rota
“Father-Ghost” - Bryce Dessner, Alejandro G. Iñárritu
“Suite from Seven” - Howard Shore
“The Immigrant Suite” Christopher Spelman
“Piggy” - Scala Kolacny Brothers (Nine Inch Nails cover)
“Mohegan Suite” - Daniel Lopatin
“Pawn Shop” - Christopher Spelman
“Vision of Fantasy” - Angelo Badalamenti
“The Ballad of Howie Bling” Daniel Lopatin
“Mateo’s Freedom” - Bryce Dessner, Alejandro G. Iñárritu
“The Final Journey” - Christopher Spelman
“Cell Clone” - Graeme Revell
“Caution - Flammable” - Howard Shore
“Lanniversaire Drive” - Angelo Badalamenti
“Back to the Woods” - Alejandro G. Iñárritu, Camilo Frodeval, Dan Zlotnik
“Walking Home” - Christopher Spelman
“Boulevard of Broken Dreams” - Esquival

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Music by Artgrid ► https://utm.io/umJy
Music by Soundstripe ► http://bit.ly/2IXwomF
Music by MusicBed ► http://bit.ly/2Fnz9Zq

─────────────────────

SUBSCRIBE to StudioBinder’s YouTube channel! ►► http://bit.ly/2hksYO0

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In this episode of The Shot List, we break down of the elements of film composition and framing — how they work together to create depth, meaning, and aesthetics in cinematography.

FREE EBOOK! Elements of Shot Composition ►► https://bit.ly/composition-ebook
Ultimate Guide: Composition in Film ►► https://bit.ly/tsl-cm
Ultimate Guide: Camera Angles ►► https://bit.ly/tsl-ca
What is Chiaroscuro Lighting? ►► https://bit.ly/wi-cl
StudioBinder Blog ►► http://bit.ly/sb-bl

─────────────────────

Chapters:
00:00 - Intro — Composition: Creative Ways to Build a Shot
00:52 - Composition Definition and History
01:29 - Aspect Ratio in Composition
01:59 - Points
03:28 - Lines
04:20 - Shapes
05:20 - Textures & Patterns
06:57 - Space
08:19 - Depth
09:48 - Balance
11:56 - Angles
12:56 - Color & Tone
15:02 - Combining Composition Elements
15:17 - Skyfall Exercise
17:01 - Takeaways

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Film Composition Explained

With their origins in fine art, the elements of composition in film provide a foundation for visual storytelling. In this video, the latest in our Shot List series, we’re going to explore cinematic composition and its seemingly endless possibilities.

What is Composition?

Composition is simply how you arrange the elements of your image. This includes your subject and the space surrounding them, the size and shapes, the color and contrast, the leading lines created to help guide the viewer’s eye, and so many more. By understanding the elements of composition in film, you can execute your visual storytelling on a whole new level.

Elements of Composition

There are many “rules” and guidelines when it comes to composition. But no matter which of these composition techniques you use, the goal is always to understand what you want the viewer to take away from a particular image. Creating focal points is a highly valuable skill so that you can guide the viewer’s attention where you want it. This can be done with “leading lines,” creating shapes, the rule of thirds, and even using color and contrast.

There are also framing and composition techniques like “frame within a frame” that helps isolate your main subject. Another technique is the Golden Ratio which uses a pattern we find everywhere in nature to create a sense of balance.

We can also look at how to use depth in the image, creating a sense of space using foreground, middle and background elements. And, of course, the angle of the camera creates its own bias and influence on how the audience perceives a composition.

Learning all of these elements of composition in film at once is certainly a daunting task. But once you get the hang of it, you’ll be able to operate on a more intuitive level where film composition becomes second nature.


#FilmTheory #VideoEssay #Filmmaking

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♬ SONGS USED:

"Cyberpunk Sunrise" - Evgeny Bardyuzha
"Origin" - David A. Molina
"Cdhiddendir" - Out Of Flux
"Last But Not Least (Instrumental)" - Chelsea McGough
"Mercury" - Alon Ohana
"Time Warp" - Notize
"7th Heaven" - Larry And The Lamplighters
"War Paint" - Rhythm Scott
"Crush" - Makeup and Vanity Set
"Hold On (Instrumental)" - Makeup and Vanity Set
"Binary Love" - Stanley Gurvich
"Piano Trio in E flat, op. 100 (Second movement)" - Franz Schubert
"La Vie En Rose" - Louis Armstrong
"Double Espresso" - Francesco D'Andrea
"From a Distance (Theme From Hit TV)" - Makeup and Vanity Set
"Kinotrope" - Luke Melville
"Opening" - Johnny Klimek & Tom Tykwer
"Choke" - Makeup and Vanity Set
"Keep Moving" - Makeup and Vanity Set
"State Lines Instrumental Version" - Aaron Kellim
"Obituary" - Alexandre Desplat
"Surgery" - Trevor Gureckis
"A Glowing Light, a Promise" - Makeup and Vanity Set
"Rock and Roll (Part 2)" - Gary Glitter
"Yumeji's Theme" - Shigeru Umebayashi
"Stuck Behind a Train (Instrumental)" - Makeup and Vanity Set
"Showtime" - Samlight
"New Digs" - Thomas Newman
"That Night" - 2050

Music by Artlist ► https://utm.io/umJx
Music by Artgrid ► https://utm.io/umJy
Music by Soundstripe ► http://bit.ly/2IXwomF
Music by MusicBed ► http://bit.ly/2Fnz9Zq

─────────────────────

SUBSCRIBE to StudioBinder’s YouTube channel! ►► http://bit.ly/2hksYO0

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Candlelight Cinematography Tutorial with legendary DP Claudio Miranda discussing working with candlelight in scenes from Life of Pi, Oblivion, and The Curious Case of Benjamin Button

Low Light Cinematography Techniques ►► https://bit.ly/ct-lo
StudioBinder Blog ►► http://bit.ly/sb-bl

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Special thanks to:
Media Division ►► https://bit.ly/al-md
Cinematography Life ►► https://bit.ly/al-cl

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Chapters:
00:00 - Claudio Miranda on Candlelight
00:41 - Lighting a Large Set with Candles in Life of Pi
02:07 - Large Set with Single Candle in Oblivion
05:40 - Intimate Setting with Single Candle in Benjamin Button
06:44 - Takeaways

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CANDLELIGHT CINEMATOGRAPHY

Working with candlelight is a rite of passage for any cinematographer. As you can imagine, doing so is quite difficult, and there are a few considerations involved. In this video, we’re going to learn how to light a scene with candlelight from a DP who has plenty of experience — Claudio Miranda. Topics include the types of lenses to use, ISO and sensor settings, specialty candles, and more.

HOW TO LIGHT A SCENE WITH CANDLELIGHT

In 1975, Stanley Kubrick and DP John Alcott famously shot Barry Lyndon’s candlelight cinematography. But to do so, they needed multiple candles and a lens specifically designed by NASA. Today, it’s a lot easier, but that doesn’t mean it is easy.

As Miranda explains, one of the first things to consider is the ISO and sensor settings on the camera. On Oblivion, one scene was to be lit with a single candle between two characters. The camera they used was the Sony F65 with an 800 ASA. But that was not enough — the background projection system used to light the set was lowered, and the shutter speed was adjusted to get “the last gulp of exposure.”

Lens choice is also a key consideration. When shooting candles in low light, Miranda recommends a lens that can open up to at least a 1.4 aperture. He also mentions how every lens has unique characteristics and that even though it might have desirable effects in a normally lit scene, it can underperform in low-light scenarios.

Beyond using a single candle, what happens when there are literally thousands? In a crowd scene from Life of Pi, Miranda explains that over 120,000 candles were used. In fact, all the extra lighting Miranda had brought to the set as a contingency plan was not needed.

In other scenes, supplemental lighting is necessary. For example, in The Curious Case of Benjamin Button, lighting with candlelight alone proved insufficient. An additional practical was added to boost the level.

Cinematic lighting with candlelight is more possible today than it has ever been. With the right camera, lenses, and (potentially) additional lighting, working with candlelight can turn a simple scene into the most visually striking in the entire project. Thanks to DPs like Claudio Miranda sharing their knowledge, candlelight cinematography is within the grasp of any cinematographer.


#FilmTheory #VideoEssay #Filmmaking

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♬ SONGS USED:

Oblivion Soundtrack - "Oblivion (feat Susanne Sundfor)"
Life Of Pi Soundtrack - "Which Story Do You Prefer"
Life Of Pi Soundtrack - "Meeting Krishna"
Life Of Pi Soundtrack - "Appa’s Lesson"
Oblivion Soundtrack - "Tech 49"
Oblivion Soundtrack - "Fearful Odds"
Oblivion Soundtrack - "Waking Up"
The Curious Case of Benjamin Button OST - "It Was Nice To Have Met You"
The Curious Case of Benjamin Button OST - "Daisy’s Ballet Career"
Slow Motion Future - "House Instrumental"

Music by Artlist ► https://utm.io/umJx
Music by Artgrid ► https://utm.io/umJy
Music by Soundstripe ► http://bit.ly/2IXwomF
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─────────────────────

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The Last of Us Behind the Scenes Cinematography Breakdown — a look at the creative visual choices made by the team of cinematographers, including choosing cameras, lenses, and handheld shots to keep the viewer as engaged with the show as players were with the game.

The Making of The Last of Us ►► https://bit.ly/co-lu
StudioBinder Blog ►► http://bit.ly/sb-bl

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Chapters:
00:00 - Intro to The Last of Us Cinematography
01:13 - The Challenge of Turning a Game into a TV Show
02:40 - Chapter 1: Camera & Lenses
05:31 - Chapter 2: Natural Lighting
11:08 - Chapter 3: Docustyle Camerawork
15:49 - Final Thoughts/Takeaways

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CINEMATOGRAPHY OF THE LAST OF US

Fans and critics alike have praised the adaptation of The Last of Us as one of the greatest video game-to-TV transfers. It would be easy enough to just replicate the shots from the game, but perhaps it goes beyond that. Maybe it is that the “experience” of watching the show so closely resembles the experience of playing the game. This was certainly the goal of the showrunners and cinematographers, and it informed many of their visual decisions, including the lighting, camera movement, and lens choices. In this video, we will dive into these choices that made the cinematography of The Last of Us so compelling.

THE LAST OF US CINEMATOGRAPHY — CAMERAS AND LENSES

One of the goals was to keep the environments visible around the characters. As DP Ksenia Sereda says, “We needed to be able to stay close but at the same time preserve the depth of background.” This helps keep the audience engaged in the world itself, not just with the characters. Plus, this extra negative space is a subtle reminder that an infected to could pop out at any moment. For more tense, claustrophobic scenes, like in the climactic scene of episode five, longer lenses collapse the depth for maximum tension.

THE LAST OF US CINEMATOGRAPHY — LIGHTING

DP Eben Bolter describes the lighting scheme as “cinematic naturalism,” which means grounding the visuals in the scene's reality. “It was about lighting a room rather than a shot. And letting flaws exist, and leaning into those flaws.” In other words, for the audience to immerse themselves as active participants, the world needed to look as real as possible.
Bolter also describes using a technique called “skip lighting,” which has exterior light bouncing off props or set dressing inside. Since electricity wasn’t always available in the story world, this simple technique maintains that reality.

THE LAST OF US CINEMATOGRAPHY — CAMERAWORK

As another element meant to ground the viewer in the reality of this post-apocalypse, handheld camerawork was heavily employed. According to Bolter, about 80 to 90 of each episode used this strategy. But instead of a literal handheld camera, they used a ZeeGee mount which provides the stability of a Steadicam but the look and feel of a handheld camera.
The difference in engagement between playing a video game and watching a TV show is worlds apart. But as the team behind the cinematography of The Last of Us has shown, it’s perhaps not as impossible as previously thought.


#FilmTheory #VideoEssay #Filmmaking

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♬ SONGS USED:

"The Last of Us" - Gustavo Santaolalla
"Prelude in B Minor" - Will Taylor
"Left Behind" - Gustavo Santaolalla and David Fleming
"Spiral" - Alon Peretz
"Secret Weapon" - Evgeny Bardyuzha
"It Can't Last (Sunset)" - Gustavo Santaolalla and David Fleming
"A Battle in the East" - Rhythm Scott
"Invited" - Gustavo Santaolalla and David Fleming
"Raiders" - Gustavo Santaolalla and David Fleming
"When the Demons Came Knocking" - Eleven Tales
"All Gone (Isolation)" - Gustavo Santaolalla and David Fleming
"Breaching the Wall" - Gustavo Santaolalla and David Fleming
"Subterranean" - Gustavo Santaolalla and David Fleming
"Stockpile" - Gustavo Santaolalla and David Fleming
"Surveillance" - Gustavo Santaolalla and David Fleming
"1986" - Angel Salazar
"All Gone (Purpose)" - Gustavo Santaolalla and David Fleming
"All Gone (Affliction)" - Gustavo Santaolalla and David Fleming
"Forsaken" - Gustavo Santaolalla and David Fleming
"Still Need Syndrome" - Yarin Primak
"The Last of Us" - Gustavo Santaolalla
"Alone And Forsaken" - Hank Williams

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The Art of the Opening Scene — six methods of how to start a movie using character introductions, character dynamics, cold opens, and genre rules.

25 Best Opening Scenes in Movies ►► http://bit.ly/op-sc
2001 Dawn of Man Video ►► http://bit.ly/2001-dom
StudioBinder Screenwriting Software ►► http://bit.ly/sb-sw

Chapters:
00:00 Intro — The Opening Scene
01:20 Technique 1: Enter the Villain
02:07 Technique 2: Enter the Hero
03:39 Technique 3: Establish Relationships
05:17 Technique 4: Plot Catalyst
07:03 Technique 5: Follow Genre
08:24 Technique 6: Flip Genre
10:40 Flashbacks
10:52 Flash-forwards
11:27 Dreams
11:53 Metaphors
12:15 Bookends
12:30 Red Herrings
13:17 MacGuffins
13:48 Final Takeaways

How to start a movie — obviously, there is no single answer to that question but there are ways to find the perfect opening scene. The first scene in any story has a great burden placed on it and the decision of how to open a movie should be given careful consideration. In this video essay on the art of the opening scene, we will examine six methods that illustrate the various ways to begin a movie. Let’s start with how to introduce a villain or hero.

When the ensuing story follows the combative relationship between a hero and villain, it can be advantageous to make those introductions as soon as possible. Especially, in the case of The Dark Knight — when we already know plenty about Batman from the earlier film — setting up his primary adversary for this chapter sets the bar for what he will be facing for the rest of the film. In Skyfall, even though we had our formal introduction to James Bond in Casino Royale, we can add a new layer onto both his characterization and plant a story problem for him in this new chapter.

In Marriage Story, writer/director Noah Baumbach shows us how to start a movie with pure characterization. We are introduced right away to Charlie and Nicole with an extended montage of their personalities, and a brief history of their marriage. For this movie, this opening scene is perfectly suited to give us as much information and sympathy about this couple before we see their separation and divorce for the rest of the film. Without this opening sequence, our ability to sympathize can decrease.

In Uncut Gems, we skip the character introduction altogether and begin with the plot device that will kickstart and motivate the characters throughout. The opening scene takes place in an Ethiopian mine where a rare and mystical gem is unearthed. The power and influence this gem has is given center stage before we meet any characters.

Finally, in La La Land and Get Out, we have two genre films (musical and horror, respectively) that begin with opening scenes meant to obey and break their genre rules. In La La Land, before the main character introductions, we get an explosive opening sequence full of bright colors, elaborate choreography, and a mix of fantasy and reality that musicals are known for. In Get Out, we have a mix of tones in the opening scene: both comedy and horror. This hybridization of the genres clues us in that the following movie will meet but also challenge the pre-established genre rules.

Whether you choose a character introduction, establish the character dynamics between the main characters, or set up the genre, how you begin a movie matters.

#FilmTheory #VideoEssay #Filmmaking

—

Songs used:
"Also Sprach Zarathustra" - Richard Strauss
"Rainy Night in Tallinn" - Ludwig Göransson
"Exit Strategy" - Alternate Endings
"The A400 Intro" - Joe Kraemer
"Bank Robbery (Prologue)" - Hans Zimmer & James Newton Howard
"Grand Bazaar, Istanbul" - Thomas Newman
"Skyfall (Instrumental Cover)" - Adele
"What I Love About Nicole" - Randy Newman
"What I Love About Charlie" - Randy Newman
"A Time For Love" - Bill Evans
"The Ballad Of Howie Bling" - Daniel Lopatin
"Uncut Gems" - Daniel Lopatin
"High Life" - Daniel Lopatin
"Another Day of Sun" - La La Land OST
"Sikiliza Kwa Wahenga" - Michael Abels
"Run Rabbit Run" - Flanagan and Allen
"Hold Your Breath" - Astyria
"Roller Skates" - Virgil Arles

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What is chiaroscuro? In this video on cinematic lighting techniques, we discuss the power of chiaroscuro lighting in film.

What is Chiaroscuro? ►► http://bit.ly/cs-light
Exposure Triangle eBook ►► http://bit.ly/exposure-ebook
Master Rembrandt Lighting ►► http://bit.ly/rb-light
Cinematic Lighting Techniques ►► http://bit.ly/5-lt

Chapters:
00:00 - What is Chiaroscuro Lighting?
00:19 - Chiaroscuro Meaning & Definition
00:49 - Origin of Chiaroscuro
01:44 - Usage in Cinema
02:34 - Chiaroscuro in Mid-Century
03:14 - Scene Examples
05:14 - Chiaroscuro Takeaways

Chiaroscuro Meaning: The term comes from the Italian words for “light” and “dark” — the perfect definition for a lighting style that mixes the two to great effect. Chiaroscuro lighting is a visually stunning technique that helps turn a two-dimensional image into a three-dimensional scene.

It was Renaissance painters like Caravaggio that mastered this technique long before filmmakers got their hands on it. But when they did, they thrived in it. In this video essay, we’ll trace the roots of chiaroscuro lighting from Caravaggio, through German Expressionism, Film Noir, and everything in between.

Like painting, cinema is (usually) a 2D medium. To add that third critical dimension, cinematic lighting can be used to create depth. Similar to how leading lines and shapes can guide the viewer’s eye to a perceived background in the distance, so too can light and shadow. In the early days of German Expressionism, cinematic lighting pushed the balance between light and dark to the extreme. The dark subject matter of these films could be enhanced by embracing shadows along with the light.

But beyond its ability to add dimensionality to the image, cinematic lighting techniques like chiaroscuro can also be used to emphasize the thematic questions posed in these films.
American filmmakers brought these cinematic lighting techniques to the gritty and pessimistic underworld in Film Noir classics. In these films, we find good characters led into corruption and the chiaroscuro lighting helped trap them in moral and existential dilemmas. Filmmakers figured out that there is tension between mixing light and shadow and have relied on the power of chiaroscuro lighting for over a century.

#FilmTheory #VideoEssay #Filmmaking

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#film-theory, #video-essay, #filmmaker

How to write the midpoint of a story — a comprehensive look at story structure and the midpoint in film, including strategies writers use to link Act One to Act Three.

What is a Midpoint? ►► https://bit.ly/wi-mp
More "What Is?" Videos ►► https://bit.ly/wi-pl
StudioBinder Blog ►► http://bit.ly/sb-bl

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Chapters:
00:00 - Introduction to Theme
00:52 - Definition & History
03:13 - Functions of the Midpoint
04:27 - Add a Time Clock
04:54 - Raise the Stakes
05:19 - Force Change
07:06 - Types of Midpoints
13:08 - Takeaways

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HOW TO WRITE THE MIDPOINT OF A STORY

The T-Rex attack in Jurassic Park, the shower scene in Psycho, and Michael’s restaurant hit in The Godfather — some of the most iconic scenes in film history, right? They also function as one of a story’s most important plot points: the midpoint. In this video, we’ll explain why the midpoint is so important and the various types writers can choose from that best fits their story.

WHAT IS A MIDPOINT

The concept of the midpoint was popularized by screenwriting guru Syd Field after he noticed his students were struggling in the second act of a three-act structure. It was his friend, director Sam Peckinpah, who explained that he always liked to hang his films on a “centerpiece,” usually in the middle, to keep the momentum going and/or to change the story’s direction. And, so, Field took this and dubbed it “the midpoint” — a major story beat or turning point in the middle of Act Two that connects the beginning and end while giving the story a boost of energy into the climax and final act.

TYPES OF MIDPOINTS

Even though the midpoint placement is fairly consistent (middle of Act Two), various types of midpoints will change the story in various ways. Choosing which type to use depends on the story and how you want the new trajectory to unfold into Act Three. The first type of midpoint is the setback. This is when the protagonist encounters a major obstacle that places them further away from their goal. Like in Dune, when House Atreides is betrayed, Duke Leto is killed, and Paul and Lady Jessica are exiled to the desert.

This is similar to another type of midpoint called a false defeat. This involves a temporary defeat or setback that becomes an opportunity to find a new, better plan. We can see this in The Matrix when the Oracle confirms Neo’s suspicions that he is not The One. Of course, Neo eventually does prove to be The One after he believes it for himself.

On the opposite side, there’s also a false victory midpoint — the hero believes they have made a breakthrough toward their goal only to realize it would ultimately lead to failure. In 500 Days of Summer, Tom believes that he is developed a deep romantic connection with Summer, which makes their breakup all the more devastating.

A reversal shifts the entire story and the protagonist’s goals. Like when Joel wants to reverse the procedure that is erasing Clementine from his memory in Eternal Sunshine of the Spotless Mind. There’s also the twist midpoint which is a major turning point the audience had no idea was coming that changes the direction, protagonist, or even the genre.

The midpoint in a story holds a lot of potential for writers to push their narrative in unexpected and compelling ways. If you can crack the midpoint, you can crack the entire story.


#FilmTheory #VideoEssay #Filmmaking

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♬ SONGS USED:

"Double Espresso" - Francesco D'Andrea
"Battle Dance" - Rhythm Scott
"1986" - Angel Salazar
"Adventures on the High Road" - Jerry Fielding
"To Burn" - Man With Roses
"Cyberpunk Sunrise" - Evgeny Bardyuzha
'Stay" - Hans Zimmer
"Assembly Line Dreams" - Ostin Drais
"On the Eve of Harlan's Demise" - Nathan Johnson
"The New Godfather" - Nino Rota
"Paradise Found" - Michael Giacchino
"Out To Sea" - John WIlliams
"Blow To Bits"
"Still Need Syndrome" - Yarin Primak
"The One" - Hans Zimmer
"Wookie Prisoner / Detention Block / Ambush" - John Williams
"Main Title / Trinity Infinity" - Don Davis
"Cold Hearted Switch" - Don Davis
"Conspiracy Theories" - Jean Pol Cornelis
"To the Architect" - Rob Simonsen
"Collecting Things" - Jon Brion
"Theme"
"Yes I Am (Instrumental)" - Zach Sorgen
"Main Title" - Jerry Goldsmith
"Breakaway" -
"The Murder" - Bernard Hermann
"Fat Banana" - Kicktracks
"Stuck In The Middle With You" - Stealers Wheel

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Music by MusicBed ► http://bit.ly/2Fnz9Zq

─────────────────────

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The Director's Chair: How to Write and Direct a Movie like Christopher Nolan ►► http://bit.ly/2JNbfLN

Understanding how Christopher Nolan movies work so well is to understand more than cinema or the ability to film in Imax. You’ve watched Interstellar, Insomnia, Dunkirk, and The Dark Knight Trilogy (Batman), and love the cinematic storytelling from this prolific director and filmmaker in general. It doesn’t hurt when you have a Hans Zimmer score too. But what's it like actually being in the Director's chair?

Christopher Nolan movies like Memento and The Prestige reminds us, filmmakers, what cinema is all about, and film directing and editing has rarely been so good. Maybe you think best Christopher Nolan movies have Tom Hardy or Christian Bale in them - but the Dark Knight Rises movie had both… so that sort of disproves that theory.

Directing films and cinema like Christopher Nolan takes years or practice and research into filmmaking. That’s why Christopher Nolan movies can take you on a deep journey, and this video essay will show you how he keeps everything consistent in his films.

If you love Christopher Nolan movies, don’t write another page or direct another scene until you’ve seen our video essay. You don’t need a big Imax cinema to be able to make a film like Christopher Nolan. All you need is a good mind and hard work.

Christopher Nolan editing techniques also come into play, so learn how he directs a movie that will eventually be cut together in a somewhat unconventional manner.

The end result: You will know how to direct a movie like Christopher Nolan, and perhaps you will direct the next Dark Knight trilogy or Interstellar.

Enter the Director's chair to find out exactly how Christopher Nolan directs and edits his movies.

#filmmaking #christophernolan #thedarkknight

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Original Christopher Nolan Interviews & Quotes:

• Christopher Nolan: Self-Taught Filmmaker: http://bit.ly/2MffYYo
• BAFTA Guru: Christopher Nolan on Directing: http://bit.ly/2MmfiAO
• Christopher Nolan - How to Be a Filmmaker: http://bit.ly/2MmfwIa
• Jack Howard: I Love Christopher Nolan: http://bit.ly/2Mc7JMS
• Chris Nolan Talks BATMAN BEGINS on The Treatment: http://bit.ly/2M9mcZS
• VICE: Christopher Nolan on "Following" - Conversations Inside The Criterion Collection: http://bit.ly/2MbCRMA
• 18-Minute Analysis By Christopher Nolan On Story & Construction Of Memento: http://bit.ly/2Mbf7bb
• Eyes on Cinema: 24-Minute documentary on Christopher Nolan's Memento (2000): http://bit.ly/2McoO9z
• BBC Newsnight: Christopher Nolan: The full interview: http://bit.ly/2MaQ8F2
• Memento - Interview with Christopher Nolan (2004): http://bit.ly/2MbfjHr
• Christopher Nolan, Al Pacino - Insomnia Interview (Part 1 of 2): http://bit.ly/2M9Eg6d
• Christopher Nolan, Al Pacino - Insomnia Interview (Part 2 of 2): http://bit.ly/2Mm0qC6
• Christopher Nolan on Dunkirk | Interview Special | Film4: http://bit.ly/2Md9Z6D

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SUBSCRIBE to StudioBinder’s YouTube channel! ►► http://bit.ly/2hksYO0

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The History of Animation — a guide to the evolution of animation styles, techniques, technologies, and how filmmakers bring their subjects to life.

What is Animation? ►► https://bit.ly/sl-an
The Shot List Series ►► https://bit.ly/the-shot-list
StudioBinder Blog ►► http://bit.ly/sb-bl

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Chapters:
00:00 - Intro to Animation
00:52 - History of Animation
03:05 - Traditional Animation
08:39 - Rotoscoping
11:09 - Anime
14:08 - Stop Motion
16:29 - Cutout
19:20 - 3D Computer
22:33 - Takeaways

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Special thanks to:
The Art of Aaron Blaise ►► https://bit.ly/ao-ab
Bradleigh Utz ►► https://bit.ly/bf-lu
Flipt Pictures ►► https://bit.ly/fl-pc
Massimo Giangrande ►► https://bit.ly/ms-ge, https://bit.ly/ma-ge
MPC ►► https://bit.ly/em-ce
sumerias1 ►► https://bit.ly/su-ms
Victoria and Albert Museum ►► https://bit.ly/vi-am
Your Average Skillets ►► https://bit.ly/ya-sk

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THE HISTORY OF ANIMATION & EVOLUTION OF ANIMATION STYLES

From the beginning of film history, filmmakers have experimented with animation in many forms and techniques. In this video, we will lay out a brief history of animation and the evolution of animation styles. Including the techniques, the technologies, the differences, and the various mediums animators use to give their inanimate subjects the illusion of life.

The word animation comes from Latin "animatio" and means “a bestowing of life.” Like film, animation is the illusion of movement through the rapid succession of images created by a process called “persistence of vision.” This works because when we see one image, it is retained on our retina for a fraction of a second, just long enough for a second image to appear — and thus, we see a single moving image instead of a series of flashing static images.

Traditional animation was the dominant type of animation in the 20th century. Basically, this involves drawing images, frame-by-frame. As the years went on, new techniques were developed to turn animation into more of an assembly line process. Animators like Walt Disney and his studio helped turn animation into a viable commercial and artistic medium.

Rotoscoping is a technique that uses live-action footage as a reference to create animation with more realistic movement. Today, we can see variations of this process in films like Richard Linklater’s Waking Life and A Scanner Darkly. Anime is an umbrella term used to describe Japanese animation, which tends to share many of the same styles and techniques as Western animation, along with some key deviations.

Stop-motion animation is also similar to traditional animation, except the subjects are often physical objects instead of drawings, like puppets or figurines. Claymation is a sub-type of stop-motion animation that uses plasticine clay. Cut-out animation uses shapes or characters cut out of paper or fabric and moved frame-by-frame. More recently, 3D animation has replaced 2D animation as the most common animation style. And, yet, it follows the same general principles.


#FilmTheory #VideoEssay #Filmmaking

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♬ SONGS USED:

"Caution (Instrumental)" - Skrxlla
"Origin" - David A. Molina
"A Battle in the East" - Rhythm Scott
"1986" - Angel Salazar
"Animatio" - Mike Steele
"Colors of the Wind (From Pocahontas)" - Royal Philharmonic Orchestra
"The Entertainer" - E's Jammy Jams
"Still Need Syndrome" - Yarin Primak
"By the Dear Old River Rhine" - Burr and Campbell
"Can't Help It" - Shtriker Big Band
"Ripples" - Tamuz Dekel
"Blue Beings"
"Echo" - Twin Signals
"In Love with Emi" - Fabien Fustinoni
"Take On Me" - a-ha
"O Come Let Us Adore Him (Instrumental)" - Salt of the Sound
"From a Distance (Theme from Hit TV)" - Makeup And Vanity Set
"Dojo Tradition (Instrumental)" - In This World
"The Path Of The Wind (Instrumental)" - Joe Hisaishi
"Visit to Hida" - RADWIMPS
"Kaneda" - Geinoh Yamashirogumi
"A Town with an Ocean View" - Joe Hisaishi
"Flare" - Theatre of Delays
"Merge"
"Story Time" - Dario Marianelli
"Action Drums" - Rhythm Scott
"Time Warp" - Notize
"Yes I Am " - Zach Sorgen
"South Park Theme" - Primus
"Theme Song Ending Credits"
"Stuck Behind a Train (Instrumental)" - Makeup And Vanity Set
"Double Espresso" - Francesco D'Andrea
"New World" - Ian Post
"Wistful (Instrumental)" - Falls
"You've Got a Friend in Me" - Randy Newman
"A New Morning" - Portl
"To Burn" - Man With Roses
"State Lines (Instrumental)" - Aaron Kellim

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─────────────────────

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Download FREE "Camera Lenses" eBook ►► https://bit.ly/cam-lenses-ebook-vol1
Learn more about camera lenses ►► http://bit.ly/cam-lenses
Watch the full series ►► http://bit.ly/the-shot-list

Chapters:
00:00 Intro to Camera Lenses
01:15 How Does a Lens Work?
04:05 Extreme Wide Angle
05:58 Wide Angle
07:13 Standard
08:51 Telephoto
10:49 Macro
13:14 Tilt Shift
14:44 Exercise
18:54 Final Takeaways

The camera lens is an essential consideration in photography and cinematography. Camera lenses are on the front line of how an image is captured but not all are created equal. In this episode of The Shot List, we’ll walk through the gamut of camera lenses to differentiate both their inherent qualities and how they each tell a different story.

Let’s begin by making an important distinction between a zoom lens vs prime lens. Within each of these categories can be a variety of camera lenses but what separates them has to do with focal length. A prime lens has a fixed focal length while a zoom lens can operate through a range of focal lengths. There are pros and cons within the zoom lens vs prime lens debate, which we will cover in detail in the video.

The different types of camera lenses are mostly divided into categories based on their focal length, measured in millimeters. Focal length is the distance between the back of the lens and the image plane — the shorter the distance, the wider the field of view. For example, extreme wide angle lenses and fisheye lenses capture the widest field of view. The field of view with a telephoto lens is much more narrow but, in exchange, you can photograph subjects at a greater distance.

A standard lens is any lens where the focal length matches the size of the camera’s sensor. This gives the image a “natural” look that best approximates human vision. A macro lens is designed to capture subjects in extremely close proximity. Whereas most camera lenses align their elements perpendicularly to the image plane, a tilt-shift lens has a unique function that can “tilt” or “shift” that alignment. This leads to both subtle and extreme distortions.

Each of these camera lenses has unique properties that shape the look and texture of the image. As you work through your shot list, keep these options in mind and you’ll be that much closer to realizing your vision.

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What is exposition in screenwriting explained with some essential do’s and don’ts and various tips on how to deliver exposition the right way.

What is Film Exposition? ►► https://bit.ly/wi-ex
More "What Is?" Videos ►► https://bit.ly/wi-pl
StudioBinder Blog ►► http://bit.ly/sb-bl

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Chapters:
00:00 - Introduction to Plato's Allegory of the Cave
00:35 - Definition & History
01:53 - Writing Tips for Exposition
05:47 - Titles & Narration
07:03 - Dialogue
09:00 - Media
10:20 - Mise en Scène
11:18 - Wrap Up

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Film Exposition Explained

What is exposition in screenwriting and why do writers struggle with it? In this video, we’ll investigate this necessary evil that plagues even the best writers. Including some basic strategies on how to deliver exposition organically to the audience and some ideas of where exposition can be more effective.

In general, bad exposition is noticed by the audience and good exposition slips by without drawing attention. But how is this done? Every movie has to find its own way of how to deliver exposition in screenwriting but there are some general do’s and don’ts you can try on any script.
The Do’s and Don’ts of Writing Exposition

In writing exposition, there are at least four different approaches to make it work. The first is to disguise the information — Hitchcock said that exposition is a “pill that must be sugar-coated” so that the audience doesn’t realize they are receiving it. The second is to visualize the information, which goes back to a sacred commandment in screenwriting: show, don’t tell. In other words, if we can see it, there’s no need to explain it. The third method is to delay the information as long as possible.

Instead of telling the audience everything in Act One, saving some pieces will lure the audience in with anticipation. Finally, perhaps the most underused approach to writing exposition is to NOT deliver it at all. Ask yourself: does the audience really need to know this? What would happen if it was left unexplained? In many cases, this creates a more interesting and engaging form of storytelling.

How to Deliver Exposition

Because we’re working in film, there are many areas through which narrative exposition can be delivered. These include the more obvious outlets like on-screen text, narration and dialogue. But there are also opportunities that writers should explore, including the mise-en-scene or the media. But there is a fine line between using any of these elements for exposition — each can be unnatural or overdone and finding that balance is indeed tricky.

Writing exposition cannot be avoided but with these techniques, it can be managed and strategically employed to tell better and more immersive stories.


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♬ SONGS USED:

"Hold On (Instrumental)" - Makeup and Vanity Set
"A Glowing Light A Promise" - Makeup and Vanity Set
"A Long Strange Trip" - Michael Giacchino
"The Times They Are A-Changin'" - Bob Dylan
"Discovery" - Makeup and Vanity Set
"Stuck Behind a Train (Instrumental)" - Makeup and Vanity Set
"High School Teacher" - John Williams
"Great Leader Has Fallen" - Makeup and Vanity Set
"Crush" - Makeup and Vanity Set
"The End" - The Doors"
"Remote Interference" - Makeup and Vanity Set
"Shorting the Aa" - Nicholas Britell
"The Family Madrigal" - Stephanie Beatriz, Olga Merediz
"Still Need Syndrome" - Yarin Primak
"Welcome To Jurassic Park" - John Williams
"Amber" - Makeup and Vanity Set
"First Crop Circles" - John Newton Howard
"What's Going On" - Marvin Gaye

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Learn More: What is Aperture? ►► http://bit.ly/c-aperture

Chapters:
00:00 A Look at Aperture in Film
00:17 The Exposure Triangle
00:42 Camera Aperture Explained
01:34 Aperture Tutorial & F-Stops
01:48 Small Aperture
02:30 Example: Small Aperture in '1917'
03:38 Large Aperture
04:07 Example: Large Aperture in 'Joker'
05:07 Medium Aperture
05:59 Example: Medium Aperture in 'Marriage Story'
07:12 Exposure Triangle Preview: ISO and Shutter Speed
07:35 Learn more about aperture

What is aperture? An aperture is what determines how much light passes through a camera’s lens. In photography and filmmaking, lens aperture is more than just an anonymous mechanism inside a lens. The aperture setting is the principal element used to manipulate depth of field, focal length, bokeh, and more. Lens aperture, along with ISO and shutter speed, is also part of the exposure triangle, which dictates the exposure of the final image. In other words, the aperture isn’t just necessary to capture images, it has a direct effect on the look and feel of those images. This is aperture explained, Part 1 of our series on the exposure triangle.

In this video essay and aperture tutorial, we will cover everything you need to know about aperture, depth of field, exposure, f stops, and t stops in photography and filmmaking. Once we cover the basic mechanics of how aperture works, we’ll look at how aperture settings create depth of field and the various visual storytelling techniques you can use in your next project.

So, what are the visual storytelling techniques associated with aperture and depth of field? In 1917, cinematographer Roger Deakins used a small aperture setting (high f stop) to achieve a deep depth of field. By doing so, we are able to observe the soldiers within their surroundings with equal clarity. In Joker, cinematographer Lawrence Sher utilizes a large aperture setting (low f stop) to create a shallow depth of field. This creates separation between Arthur and his environment, allowing us to register his emotional detachment.

In photography and filmmaking, each image-maker needs to be equally adept at aesthetics and mechanics. You won’t be able to speak the language of visual storytelling if you don’t know how to manipulate tools like aperture. Depth of field, focal length, exposure, ISO, shutter speed, and aperture are elements that work in combination to create an image. When you understand the role each of those elements plays, you’ll be one step closer to becoming a master visual artist.

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Grab the FREE Character Development Worksheet 👉 http://bit.ly/2PaH0gl

Got an idea with legs, but you’re unsure how to utilize your plans for character development? You’ve come to the right place. We have a free character profile template as well as lots of tips on how to make your pilot pop with excellent character development.

There are a few things to think about when you’re delving into creating a character profile.

WHO?

It seems simple, but right off the bat we need to know who we're going to follow for the next 100 episodes. Let's start with our lead. Who are they on the outside? On the inside? What's the cast of characters look like and who populates the world?

WHAT?

Now that you know who's in the story, it's time to provide some backstory. What's happened to them that defines them? Do they have a secret past? Also, what's happening to them right now?

WHERE?

Are we in a border town in Arizona? Madison Avenue? Or Stars Hollow, Connecticut? Hey, Atlanta is a TV show about how its characters deal with an entire city!

When you're fleshing out your character development, take time to figure out how you can tell the deepest and most meaningful story possible.

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John Wick 4 behind the scenes — how the filmmakers capture realistic action in a stylized world with a breakdown of the stunts, cinematography, and VFX.

John Wick Movies Ranked ►► https://bit.ly/ht-jw
StudioBinder Blog ►► http://bit.ly/sb-bl

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Special thanks to:
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Chapters:
00:00 - Introduction to the John Wick Universe
02:22 - Cinematography
07:16 - Visual Effects
10:07 - Stunts
13:46 - Takeaways

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JOHN WICK 4 BEHIND THE SCENES

In 2014, the first John Wick film burst onto the action scene with guns blazing. It instantly raised the bar for what action films could do — a feat surpassed by each successive entry in the franchise. The fourth chapter represents the pinnacle of this style, and in this video breakdown, we’re looking at John Wick 4 behind the scenes to see how they shot it. Specifically, how the stunts, cinematography, and VFX blend seamlessly to create realistic action in a stylized world.

JOHN WICK 4 CINEMATOGRAPHY

Two things are immediately apparent when studying John Wick cinematography — the steady and slow camera movement during action scenes and the preference for wide frames. This lends itself to a great tradition of fight scenes done “in-camera.” While most films opt for plenty of coverage and editing to construct the action, the John Wick filmmakers let the action choreography speak for itself. The fighting might be grounded in realism, but the lighting is hyper-stylized with bold, saturated colors.

JOHN WICK 4 VFX

To pull off the type of action we see in these films, VFX is both a safety concern and a time-saver. First, with so much weaponry, especially at close range, a lot of work needs to be done in post. This includes adding smoke and muzzle flares to prop guns, digitally creating throwing weapons like knives and axes, and, of course, the insane amount of blood effects. As explained in the video, if they had attempted this many blood effects practically, they would have gotten half the work done in the same amount of time.

JOHN WICK 4 STUNTS

You can’t have realistic action without realistic stunts. Former stuntman and stunt coordinator Chad Stahelski stepped into the director’s chair for the John Wick series (co-directing the first film and solo directing the rest). With Stahelski’s background, the stunts and action choreography could be done as realistically as possible — and when you have an action star like Keanu Reeves willing to do most of his own stunts and fights, you can’t go wrong. By knowing what’s possible, what looks good on camera, on where action choreography could be elevated, the John Wick films prove that action cinema is far from dead.


#FilmTheory #VideoEssay #Filmmaking

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♬ SONGS USED:

"Wetwork" - Le Castle Vania
"Big Wick Energy" - Tyler Bates, Joel J. Richard
"LED Spirals" - Le Castle Vania
"Think" - Kaleida
"High Table in Osaka" - Tyler Bates, Joel J. Richard
"Change Your Nature" - Tyler Bates, Joel J. Richard
"Stairs Arrival" - Tyler Bates, Joel J. Richard
"Urban Cowgirl" - Tyler Bates, Joel J. Richard
"Shots Fired" - Le Castle Vania
"Antique Gun Assembly" - Tyler Bates, Joel J. Richard
"Ten Paces" - Tyler Bates, Joel J. Richard
"Really Pissed Off (End Credits)" - Tyler Bates, Joel J. Richard
"Winter" - Takako Nishizaki, Capella Istropolitana, Stephen Gunzenhauser
"Guns & Turtlenecks" - Tyler Bates, Joel J. Richard
"1986" - Angel Salazar
"Blood Code" - Le Castle Vania
"Action Drums (Instrumental)" - Rhythm Scott
"Marie Douceur, Marie Colère" - Manon Hollander, Mick Jagger, Keith Richards
"Taxi Ride" - Tyler Bates, Joel J. Richard
"Back In The Ground" - Tyler Bates, Joel J. Richard
"War Dance (Instrumental)" - Rhythm Scott
"Paris Radio Intro" - Tyler Bates, Joel J. Richard
"Boot Sequence" - Jimmy Svensson
"Genesis" - Justice
"Change Your Nature" - Tyler Bates, Joel J. Richard

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