The Ultimate Guide to Cinematic Lighting Techniques (Part One) — covering everything you need to know about the basics of film and video lighting, including types of light, essential terminology and the necessary gear for any lighting scenario.

Film Lighting — The Ultimate Guide (Cheatsheet) ►► https://bit.ly/sl-fl
What is Color Temperature? ►► https://bit.ly/wi-ct
What is the Exposure Triangle? ►► https://bit.ly/wi-et
What is Chiaroscuro Lighting? ►► https://bit.ly/wi-cl
StudioBinder Blog ►► http://bit.ly/sb-bl

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Chapters:
00:00 - Intro — Cinematic Lighting
01:00 - Why Film Lighting Matters
01:55 - Types of Light
04:49 - Lighting Terms
08:52 - Lighting Gear and Equipment
12:54 - Outro — Cinematic Lighting Part Two Tease

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Special thanks to:
2D House ►► https://bit.ly/2-dh
Creative Path Films ►► https://bit.ly/3TmITI5, https://bit.ly/3TmIhlH, https://bit.ly/3MUvswx
Curtis Judd ►► https://bit.ly/3F2Nefj
Droi Media ►► https://bit.ly/3VNnppu
Dylan John ►► https://bit.ly/3eZr3vM
filmrocks ►► https://bit.ly/3F0pZmb
FilmSkills ►► https://bit.ly/3TDs2k2
Grip Tips ►► https://bit.ly/3EYAM09
Indy Mogul ►► https://bit.ly/3SDkc9r
Jimmy Allan ►► https://bit.ly/3VNkpcC
LNP ►► https://bit.ly/3VM44Fh
Media Division ►► https://bit.ly/3CRvhOd
Newsshooter ►► https://bit.ly/3CNlOXW
Photosmudger ►► https://bit.ly/3yXxrKL
Pull My Focus ►► https://bit.ly/3Tq7DPL, https://bit.ly/3Sn7KdF
SonduckFilm ►► https://bit.ly/3F2Ztsd
Steve O'Nions ►► https://bit.ly/3F083Ib
TheBuffNerds ►► https://bit.ly/3TgTRyV
The Film Look ►► https://bit.ly/3MPDdUJ, https://bit.ly/3CUFbOX
The Naked Photographer ►► https://bit.ly/3eUvHeG
Think Media ►► https://bit.ly/3TMOgjP
Tuts+ Motion Graphics ►► https://bit.ly/3TnRoCT
Wex Photo Video ►► https://bit.ly/3SojaO8
ZY Cheng ►► https://bit.ly/3eWbYuX

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Cinematic Lighting Techniques Explained

This episode of the Shot List series covers Part One of the basics of cinematic lighting. This includes fundamentals like the types of light, the qualities of light, essential terminology and necessary gear, and everything you need to know before you light your first scene. In Part Two, we’ll look at how to actually light subjects, backgrounds, and unique scenarios.

Cinematic lighting is something every filmmaker is after. Learning how to light a scene, interview, music video, etc. is almost always learning how to achieve “cinematic lighting.” And though cinematography in general can be daunting especially lighting, our goal here is to lay the foundation for you to be able to step on set where the real learning happens.

Cinematic lighting techniques start with knowing the various types of light and their various qualities. You should know the difference between natural and artificial light and how to best utilize both. Hard light hits the subject directly, creating sharp and distinct shadows while soft light gets diffused and scattered, creating soft and indistinct shadows.

You should know that ambient light includes any light available at a location that the crew didn’t bring and that practical lights are any sources visible in the shot. Motivated lighting means that there is a justified reason for how you’re lighting a scene. For example, if we see a firelight illuminating the subject, there should obviously be a fireplace in the room.

Another major task in cinematic lighting techniques is controlling the light. Flags and barn doors block and shape light, while diffusion materials like silks and reflectors change the quality of light from hard to soft.

The techniques and concepts behind cinematic lighting are actually quite straightforward. And once you’ve mastered the essentials, that’s when the creativity kicks in to make them your own.


#FilmTheory #VideoEssay #Filmmaking

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♬ SONGS USED:

"Danger Zone" - Kenny Loggins
"Origin" - David A. Molina
"Dojo Tradition (Instrumental)" - In This World
"Time Warp" - Notize
"Mercury" - Alon Ohana
"Assembly Line Dreams" - Ostin Drais
"Mauretania (Instrumental)" - Sam Barsh
"Night Driveway" - Max H.
"Cdhiddendir" - Out Of Flux
"Hold On (Instrumental)" - Makeup and Vanity Set
"Oscillating Form" - Charlie Ryan
"Club Foot Clavipes (Instrumental)" - Isaac Joel
"No Link (Instrumental)" - Sam Barsh
"Stuck Behind a Train (Instrumental)" - Makeup and Vanity Set
"Royal Blue (Instrumental)" - Makeup and Vanity Set
"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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— Join us on Social Media! —

Instagram ►► https://www.instagram.com/studiobinder
Facebook ►► https://www.facebook.com/studiobinderapp
Twitter ►► https://www.twitter.com/studiobinder

What is the theme of a story? Theme in storytelling is one of the most important yet difficult-to-grasp concepts. In this video, we’ll break it down as simply as possible, along with the five ways to help writers how to write the theme of a story.

What is Theme? ►► https://bit.ly/wi-ra
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
04:44 - Characters & Dialogue
06:13 - John Truby's Character Web
08:01 - Theme & Setting
10:46 - Motifs & Symbols
12:48 - Themes in Nope
18:11 - Takeaways

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WHAT IS THE THEME OF A STORY

Theme in storytelling in an inextricable element that all writers deal with. It’s also a difficult concept to grasp, let alone work with. Our goal in this video on theme is to break down this complex and allusive element to make it as simple, digestible and applicable as possible. Along the way, we’ll dive into five different elements in writing where the theme of a story can be constructed.

WHAT’S A THEME?

Theme is the central and unifying idea or principle in a story. In the simplest terms, “plot” is what happens in a story and “theme” is what that story is actually about at its core. For example, the plot for Jurassic Park focuses on people surviving on an island with dinosaurs. But the theme is focused on what happens when humans try to play god.

HOW TO WRITE THEME IN A SCREENPLAY

There are five main ways writers can work with theme: characters, dialogue, setting, motifs, and symbols. Once you’ve identified the theme, one of the first things you might want to do is find the characters that would best represent it. For example, a major theme in The Dark Knight is order vs. chaos, and each of the main characters represents one side or the other. Harvey Dent, Gordon, the Mayor represent justice and order. On the other side of the coin, the Joker and the rest of the Gotham underworld are representatives of chaos. Much of the dialogue then is ideally suited to discuss this theme and its balance for the citizens of Gotham.

Setting is also a more visual way to express theme in storytelling. First, there is the general time and place of the story. In Parasite, the major themes revolve around the divide between rich and poor, and the illusion of upward mobility. One way the setting expresses these themes is through the set design of both the Park and Kim family homes. One is a near-subterranean hovel, while the other is an elevated and expansive home, making the difference between “upper” and “lower” classes a literal representation.

Finally, there are motifs and symbols. A motif is anything we can assign meaning to because of its repetition. A symbol is anything meant to represent something else. In Everything Everywhere All at Once, the theme is the dichotomy between kindness and empathy vs. nihilism and despair, both of which have their own symbol. The googly eyes and the everything bagel, to be exact, and their designs become an interesting “yin and yang” to represent the balance between them that Evelyn is striving for.

What is the theme of a story? That might be the hardest question for any writer to answer. But once you do, there are many ways to weave that idea into your work.


#FilmTheory #VideoEssay #Filmmaking

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♬ SONGS USED:

"Somewhere" - Daniele Musto
"Assembly Line Dreams" - Ostin Drais
"Yes I Am" - Zach Sorgen
"To Burn" - Man With Roses
"La Javanaise" - Madeleine Peyroux
"The Undertake" - Borrtex
"Becoming One of 'The People'" - James Horner
"Fratres (Version for Cello & Piano)" - Avro Pärt
"Still Need Syndrome" - Yarin Primak
"State Lines" - Aaron Kellim
"Glass" - Claudio Laucci
"The Winner Is" - DeVotchKa
"Aggressive Expansion" - Hans Zimmer & James Newton Howard
"Introduce a Little Anarchy"
"Like a Dog Chasing Cars"
"The Ferries"
"Mauretania" - Sam Barsh
"Opening" - Jung Jae Il
"The Belt of Faith"
"Zappaguri"
"Conciliation I"
"Staring Into The Abyss" - 2050
"Evelyn Everywhere" - Son Lux
"Come Recover"
"Specks Of Time"
"Amber" - Makeup and Vanity Set
"Oscillating Form" - Charlie Ryan
"Jupiter's Claim" - Michael Abels
"Haywood Ranch"
"The Run (Urban Legends)"
"Abduction"
"Brother Sister Walk"
"Nope"
"Last But Not Least" - Chelsea McGough
"Sunglasses At Night" - Corey Hart

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

Looking for a production management solution for your film? Try StudioBinder for FREE today: https://studiobinder.com/pricing

— Join us on Social Media! —

Instagram ►► https://www.instagram.com/studiobinder
Facebook ►► https://www.facebook.com/studiobinderapp
Twitter ►► https://www.twitter.com/studiobinder

The Ultimate Guide to Cinematic Lighting Techniques — part two of our mini-series on how to get cinematic lighting, including lighting tips for subjects, backgrounds, daytime and nighttime scenarios.

30 Best Cinematography Techniques (eBook) ►► https://bit.ly/sl-p2
The Ultimate Guide to Film Lighting Pt. 1 ►► https://bit.ly/ug-ci
StudioBinder Blog ►► http://bit.ly/sb-bl

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Chapters:
00:00 - Intro — Cinematic Lighting
01:00 - Why Film Lighting Matters
01:09 - Single Subjects
06:15 - Multiple Subjects
08:55 - Exterior Day
12:42 - Exterior Night
16:21 - Interior Day
18:46 - Interior Night
22:19 - Takeaways

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Special thanks to:
DiCasaFilm ►► https://bit.ly/dc-li
Creative Path Films ►► https://bit.ly/3TmITI5
postPerspective ►► https://bit.ly/pp-co
Tim de la Torre ►► https://bit.ly/td-lt

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THE ULTIMATE GUIDE TO CINEMATIC LIGHTING TECHNIQUES — PART TWO

Cinematic lighting is something most filmmakers are after but what is cinematic lighting anyway? Many people agree that the difference between amateur and professional film is decided by the quality of a project’s lighting. In the first episode of this cinematic lighting guide, we covered the basics of lighting, and the general styles and approaches. Now we’re going to discuss how to get cinematic lighting by shooting subjects, backgrounds, daytime vs. nighttime, and interiors vs. exteriors.

CINEMATIC LIGHTING SETUP FOR SUBJECTS

First, we’ll look at how to light your subjects. Using the most common portrait lighting setups like butterfly lighting, loop lighting, split lighting, and more. Each of these lighting techniques literally casts a different light on your subject, which in turn can alter their characterization and how we relate to them. We’ll also get into how to light multiple subjects in a scene.

HOW TO LIGHT A SCENE — EXTERIOR DAY/NIGHT

There are countless lighting scenarios but they can all be boiled down to basically four — exterior day, exterior night, interior day, and interior night. Shooting outside during the day is difficult mostly because your main light source (the sun) is constantly changing. In our video, we learn from DPs like Robert Richardson shooting Casino and Emmanuel Lubezki shooting The Revenant.

Shooting outside at night presents its own challenges, but with today’s cameras, low-light cinematography is not nearly the challenge it used to be. For example, we learn how DP Jeff Cutter simulated moonlight on Prey or how Jarin Blaschke embraced the shadows on The Witch.

HOW TO LIGHT A SCENE — INTERIOR DAY/NIGHT

Lighting an interior during the day can be a lot easier than shooting outside but you’re still dealing with the sun. DP Roger Deakins blacked out windows and used exterior lighting for the opening scene in Sicario. DP Matthew Libatique had more control with the stage set in The Whale. You can also go more stylized with the nighttime lighting, like Kubrick and his DP Larry Smith did on Eyes Wide Shut.

Cinematic lighting techniques like this are used all the time. And with lessons from masterful DPs, we can all approach any lighting situation with confidence.


#FilmTheory #VideoEssay #Filmmaking

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♬ SONGS USED:

"Somewhere" - Daniele Musto
"Origin" - David A. Molina
"War Dance (Instrumental)" - Rhythm Scott
"Mauretania (Instrumental)" - Sam Barsh
"Morning Sunbeams" - Yehezkel Raz
"Dojo Tradition (Instrumental)" - In This World
"Mr. Moustafa" - Alexandre Desplat
"The Lutz Police Militia"
"Yumeji's Theme" - Shigeru Umebayashi
"Deep Blue"
"Dark Blood" - Jimmy Svensson
"Club Foot Clavipes (Instrumental)" - Isaac Joel
"Full Access" - Jimmy Svensson
"Blue Suede Shoes" - Elvis Presley
"Summer Kisses/In My Body"
"1986" - Angel Salazar
"Staring Into The Abyss" - 2050
"Little Eyes (Instrumental Version)" - Yehezkel Raz
"Double Espresso" - Francesco D'Andrea
"The House Of The Rising Sun" - The Animals
"The Revenant Main Theme" - Ryuichi Sakamoto & Alva Noto
"Assembly Line Dreams" - Ostin Drais
"Glass" - Claudio Laucci
"Thrill of the Chase" - Sarah Schachner
"Five Senses"
"What Went We" - Mark Korven
"Witch's Coven"
"Corporate World" - The Dust Brothers
"Life Boat" - Rob Simonsen
"The Border" - Jóhann Jóhannsson
"Runways" - Stanley Gurvich
"Rabbia e tarantella" - Ennio Morricone
"Musica Ricercata, II (Mesto, rigido e cerimoniale)" - Dominic Harlan
"The Dream" - Jocelyn Pook
"State Lines (Instrumental Version)" - Aaron Kellim

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

─────────────────────

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

Looking for production management solution for your film? Try StudioBinder for FREE today: https://studiobinder.com/pricing

— Join us on Social Media! —

Instagram ►► https://www.instagram.com/studiobinder
Facebook ►► https://www.facebook.com/studiobinderapp
Twitter ►► https://www.twitter.com/studiobinder

What is an Antagonist — a look at one of storytelling’s most crucial elements, including the types of antagonists, their characteristics, and their functions.

What is an Antagonist? ►► https://bit.ly/wi-an
StudioBinder Blog ►► http://bit.ly/sb-bl

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Chapters:
00:00 - Introduction to Antagonists
01:03 - Antagonist Definition & History
02:59 - Villain Antagonist
08:33 - Other Types of Antagonists
15:26 - Multiple Antagonists
17:48 - Takeaways

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WHAT IS AN ANTAGONIST IN STORYTELLING

Every story needs a protagonist, a main character pursuing a goal. And every protagonist needs obstacles in their way — cue the antagonist. In this video, we will examine what constitutes an antagonist, its characteristics and function, and the various types of antagonists in storytelling.

WHAT IS THE DEFINITION OF ANTAGONIST

According to John Yorke, an antagonist is “the sum total of all the obstacles that obstruct a character in the pursuit of their desires. They are the problem or obstacle the protagonist has to overcome.” Unlike the protagonist, who is usually a character, an antagonist can be many things.

TYPES OF ANTAGONISTS

The most common antagonist is the villain, an evil character prone to doing evil things. In many cases, it is up to the protagonist to stop them. But remember, an antagonist can be anything that keeps the protagonist from reaching their goals. This could be the environment around them, especially in disaster films. Animals, the big and dangerous ones, in particular, make great antagonists.

An anti-villain is an antagonist whose motives clash with the protagonist, even if they want the same thing. Sometimes, an antagonist turns out to be an ally all along — this is a false antagonist. A character who is only revealed as the antagonist in the end is called the hidden antagonist. Inanimate objects like robots or ghosts are also prime antagonists. And, finally, one of the most interesting antagonists is the protagonist themselves, or rather something in their character that prevents them from succeeding.

MULTIPLE ANTAGONISTS

Beyond these variations and types of antagonists, some stories benefit from having more than one. Group antagonists are commonly found in genres such as war films (army vs army) or sports films (team vs team). There is also the opportunity to combine different types in the same film. In Titanic, Jack and Rose must battle against her fiance Cal before the iceberg creates a new antagonist: the sinking ship.

It’s a natural tendency for writers to focus more on their protagonists, but an equal amount of attention should be paid to their antagonists as well. As Robert McKee said, “A protagonist and their story can only be as intellectually fascinating and emotionally compelling as the forces of antagonism make them.”


#FilmTheory #VideoEssay #Filmmaking

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♬ SONGS USED:

"War Banner (Instrumental)" - Cody Martin
"Battle Dance" - Rhythm Scott
"Time Warp" - Notize
"Yes I Am (Instrumental Version)" - Zach Sorgen
"Discovery" - Makeup and Vanity Set
"The Terminator Theme (Extended Version)" - Brad Fiedel
"Dojo Tradition (Instrumental)" - In This World
"Dark Blood" - Jimmy Svensson
"Staring Into The Abyss" - 2050
"Pas De Deux" - Michael Abels
"Gotham's Reckoning" - Hans Zimmer
"Full Access" - Jimmy Svensson
"Revisiting Snoke" - John Williams
"Prologue: One Ring to Rule Them All" - Howard Shore
"Spider-Man 2 Main Title" - Danny Elfman
"Medication Valse" - Jack Nitzsche
"To Burn" - Man With Roses
"Killmonger" - Ludwig Göransson
"Severus and Lily" - Alexandre Desplat
"Free Your Mind" - Don Davis
"What Have We Done to Each Other" - Trent Reznor
"The Wrestler (Original Score)" - Clint Mansell
"1986" - Angel Salazar
"The Canyon" - A. R. Rahman
"Elgar Cello Concerto in E Minor, Op. 85 - I. Adagio - Moderato (Recording Session / Excerpt)" - Sophie Kauer
"Catch Me If You Can" - John Williams
"A Moon Walk (Instrumental Version)" - Yehezkel Raz
"War Paint" - Rhythm Scott
"Assembly Line Dreams" - Ostin Drais
"Otto Trouble" - Michael Giacchino
"Rose" - James Horner
"Cosmos" - Theatre Of Delays
"Theme from Darker Colors" Makeup and Vanity Set
"Bad To The Bone" - George Thorogood

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

Looking for a production management solution for your film? Try StudioBinder for FREE today: https://studiobinder.com/pricing

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Instagram ►► https://www.instagram.com/studiobinder
Facebook ►► https://www.facebook.com/studiobinderapp
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What is a Metaphor — a complete guide to the art of metaphor, including eight different types, how they work, and how writers can use them to create meaning through comparison.

What is a Metaphor? ►► https://bit.ly/wi-me
StudioBinder Blog ►► http://bit.ly/sb-bl

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Chapters:
00:00 - Introduction to Metaphors
00:55 - Metaphor Definition and History
03:19 - Direct/Standard Metaphor
03:47 - Simile
05:13 - Implied Metaphor
06:26 - Extended Metaphor
07:45 - Controlling Metaphor
08:48 - Mixed Metaphor
09:36 - Dead Metaphor
10:05 - Visual Metaphor
12:35 - Takeaways

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WHAT IS A METAPHOR

Metaphors are deceptively simple. We use them all the time in our everyday conversations. And yet there is a strict definition for “What is a metaphor” that most people aren’t aware of. For the average person, there is no pressing need to understand the art of metaphor, but the same cannot be said for writers. In this video, we’re going to define metaphor, the eight different types, how they work, and how writers can add them to their literary arsenal.

METAPHOR DEFINITION

Let’s start with a metaphor definition. A metaphor is a figure of speech that compares an object to another object with similar characteristics. It uses conjugations of “to be” like “I am,” “She is,” or “They are.” For example, “love is a battlefield.” Four elements are necessary to create a metaphor: the tenor, the vehicle, the ground, and the tension. The tenor is the subject in question (love), and the vehicle is the object of comparison (battlefield). The ground is what these two things have in common (both can be treacherous endeavors), and the tension makes them distinct (love is an emotion, while battlefields are sites of physical conflict).

“Love is a battlefield” is the standard, pure type of metaphor, but there are many others to explain.

TYPES OF METAPHORS

SIMILE VS METAPHOR
A simile is a type of metaphor that uses qualifiers such as “like” or “as” to make comparisons. For example, when Shrek proclaims that “Ogres are like onions.”

IMPLIED METAPHOR
An implied metaphor makes a comparison, but it’s more implicit. For example, in Whiplash, a character says, “Don’t worry about Fletcher. He’s more bark than bite.” Fletcher is being compared to a dog without saying exactly that.

EXTENDED METAPHOR
An extended metaphor is a comparison expressed over many lines. Perhaps the most famous example would be, “All the world’s a stage, and all the men and women are merely players…” from Shakespeare’s As You Like It.

DEAD METAPHOR
A dead metaphor is a metaphor that has been overused and turned into a cliche. Examples of these would include “You’re breaking my heart” and “Time is running out.”

CONTROLLING METAPHOR
A controlling metaphor is used throughout the story, often to speak the overall theme. In Turning Red, Mei turning into a giant red panda is a metaphor for the pains of puberty.

MIXED METAPHOR
A mixed metaphor combines two comparisons incorrectly. For example, “The early bird gathers no moss.”

VISUAL METAPHOR
Finally, a visual metaphor is simply a comparison made visually. This can be done in a single image (like fireworks exploding during a romantic moment) or between images, like Russian filmmaker Sergei Eisenstein intercut strikers being killed with cattle being slaughtered.

As you can see, the art of metaphor has wide-ranging implications. A writer or filmmaker can inject extra layers of meaning into their dialogue and imagery, adding sophistication and nuance to their work.


#FilmTheory #VideoEssay #Filmmaking

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♬ SONGS USED:

“Go” by Makeup and Vanity Set
“Choke” by Makeup and Vanity Set
Keep Moving by Makeup and Vanity Set
The Wanderer by Makeup and Vanity Set
Quantum IV by Makeup and Vanity Set
The Corridor by Makeup and Vanity Set
Only Fire by Makeup and Vanity Set
Discovery by Makeup and Vanity Set
“Ciclo” by Makeup and Vanity Set
“Tannhäuser Gate” by Makeup and Vanity Set
“Once Upon A Storybook Love” by Mark Knopfler
“Reborn” by Branford Nyght
“Blackmail” by Nathan Johnson
“Turning Panda” by Ludwig Göransson
“Nonplus” by Makeup and Vanity Set
“Royal Blue” by Makeup and Vanity Set
“I Know There’s Good In Him” by John Williams
“Dead Already” by Thomas Newman
“Crush” by Makeup and Vanity Set
“Collapse” by Makeup and Vanity Set
“Life is a Highway” by Tom Cochrane

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

Looking for a production management solution for your film? Try StudioBinder for FREE today: https://studiobinder.com/pricing

— Join us on Social Media! —

Instagram ►► https://www.instagram.com/studiobinder
Facebook ►► https://www.facebook.com/studiobinderapp
Twitter ►► https://www.twitter.com/studiobinder

Mission: Impossible Stunts Explained — Stunt Coordinator and 2nd Unit Director Wade Eastwood walks us through the planning and execution of the most insane stunts in the Mission: Impossible franchise like Rogue Nation, Fallout, and Dead Reckoning.

What is a Stunt Coordinator in Film? ►► https://bit.ly/ht-mi
Check out the Full Interview with Wade Eastwood ►► https://bit.ly/fi-ea
StudioBinder Blog ►► http://bit.ly/sb-bl

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Chapters:
00:00 - Introduction to the Mission: Impossible Stunts
01:11 - The Role of Wade Eastwood, Stunt Coordinator and Second-Unit Director
04:54 - Hanging on a Plane in Rogue Nation
06:23 - Long Take Underwater in Rogue Nation
07:37 - HALO Jump in Fallout
09:35 - Helicopter Chase in Fallout
13:03 - Motorcycle Cliff Jump in Dead Reckoning
16:24 - Takeaways

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MISSION: IMPOSSIBLE STUNTS EXPLAINED

It’s almost objectively true that Tom Cruise’s Mission: Impossible films have occupied the apex of jaw-dropping stunts for years. And now, with the 7th installment, Cruise and Co. have raised the bar…again. In this video, we had the honor of sitting down with Stunt Coordinator and 2nd Unit Director Wade Eastwood to discuss those insane Mission: Impossible stunts and the harrowing tales behind them.

MISSION: IMPOSSIBLE BEHIND THE SCENES — ROGUE NATION

We’ve all wondered what it would be like to hang on to the outside of an airplane mid-flight, right? Well, Tom Cruise actually did it. What’s really amazing about the Airbus sequence is that the crew had only two days to complete it — one for rigging and rehearsal, one for shooting. The only safety precautions were eye contacts to protect his eyes and a rope and harness to keep Cruise from falling to certain death. The underwater vault sequence required an entirely different set of skills. The biggest one was Cruise holding his breath for up to 6 minutes in the same shot.

MISSION: IMPOSSIBLE STUNTS BTS — FALLOUT

In the next film, Fallout, another plane is involved, but instead of hanging on, Cruise jumps out of it at an altitude of 25,000 feet. This was the now-iconic HALO jump, and Cruise became the first actor to complete it on camera. Because they shot it at dusk, the camera (strapped to another diver’s helmet) had a very limited depth of field which meant precise choreography and planning. In another sequence, Cruise piloted a helicopter himself during an alpine chase. To capture the actor and his surroundings, specially designed camera rigs were mounted to the helicopter.

MISSION: IMPOSSIBLE STUNTS — DEAD RECKONING

In this installment, the team pulled off what might be the most dangerous stunt yet. Cruise was tasked with driving a motorbike off of a cliff and then base-jumping into the canyon below. While that may not sound extreme, the number of variables and potential accidents made this a big “don’t try this at home” stunt.

As Eastwood explains, the most impressive aspect of these Mission: Impossible stunts is that Tom Cruise also has to act in character while he’s piloting a helicopter or driving off of a cliff. The thrill that the audience experiences is uninterrupted by cutting away to a stunt double. These are the reasons why Mission: Impossible stunts are a cut above the rest.

When we take a look at Mission: Impossible behind the scenes and how Mission: Impossible stunts were filmed, we find a group of professionals pushing the limits on what's possible in film.


#FilmTheory #VideoEssay #Filmmaking

─────────────────────

♬ SONGS USED:

"Mission Accomplished" - Lorne Balfe
"Mission Impossible – Dead Reckoning Part One (Music from the Official Teaser Trailer)" - Lorne Balfe
"Stairs and Rooftops" - Lorne Balfe
"Fallout" - Lorne Balfe
"Your Mission" - Lorne Balfe
"Action Drums (Instrumental)" - Rhythm Scott
"Change of Plan" - Lorne Balfe
"Cutting on One" - Lorne Balfe
"The A400" - Joe Kraemer
"The Torus" - Joe Kraemer
"Free Fall" - Lorne Balfe
"Night Driveway" - Max H.
"Good Evening, Mr. Hunt" - Joe Kraemer
"Fate Whispers to the Warrior" - Lorne Balfe
"And the Warrior Whispers Back" - Lorne Balfe
"Noah Sleeps" - James Forest
"The Manifesto" - Lorne Balfe
"The Exchange" - Lorne Balfe
"Dojo Tradition (Instrumental)" - In This World
"Should You Choose to Accept..." - Lorne Balfe
"Mission Accomplished" - Lorne Balfe
"Steps Ahead" - Lorne Balfe
"Mission Impossible - Main Theme" - Danny Elfman

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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What is an Antihero Character Type — exploring morally ambiguous characters, their appeal, and the tightrope we walk when writing antiheroes.

What is an Anti-Hero? ►► https://bit.ly/wi-ah
StudioBinder Blog ►► http://bit.ly/sb-bl

─────────────────────

Chapters:
00:00 - Introduction to Anti-Heroes
00:56 - Anti-Hero Defined
02:48 - Chapter 1: The Anti-Hero Spectrum
06:21 - Chapter 2: How To Write An Anti-Hero
14:38 - Chapter 3: The Wolf of Wall Street Deep Dive
18:01 - Takeaways

─────────────────────

WHAT MAKES AN ANTIHERO

Traditionally, heroes are good, and villains are bad. But somewhere in the middle lay antiheroes — morally ambiguous characters that have only grown in popularity. But what makes an antihero so compelling? In this video, we will explain the murky antihero definition, explore some of the most iconic examples of antiheroes, and provide considerations for anyone interested in writing antiheroes.

WHAT IS AN ANTIHERO

Most people agree that an antihero is the main character in a story who simply lacks the qualities of a traditional hero. But, beyond that, the antihero definition is not set in stone. The boundaries that qualify this character type are subjective because they are based on our own sense of morality.

In fact, we consider the antihero definition to be more of a spectrum, and where each character lands on that spectrum is a combination of our understanding (or sympathy) for them and how much we approve of their actions. The bad things an antihero does might seem justifiable for one person and inexcusable for another. The further toward “disapproval” a character goes, the closer they get to being labeled a “villain protagonist,” another category built on subjectivity.

WRITING ANTIHEROES

It should go without saying that writing antiheroes can be tricky. Unlike the well-established boundaries for what makes a hero and what makes a villain, writing antiheroes is a bit like walking a tightrope. Making them too sympathetic reduces their complexity, but making them not sympathetic enough might alienate the audience from engaging with them.

But there are considerations to keep in mind when writing antiheroes. The first is to give them a backstory or present actions that explain how this character has become who they are. The audience needs to understand or relate to these characters on some level. Another related technique that will help engage the audience with the character is using voiceover. Hearing the thoughts and feelings of the character is a common way to build rapport.

Furthermore, it helps to give the character an internal conflict. This allows room to change or grow, but it also reminds us of our own moral quandaries. On the flip side, charisma is a great way to counteract any nastiness of the antihero. Likewise, the piece's tone is also a way to soften the harshness of these characters and their actions. And finally, if the character’s actions and behaviors are tied to the overall theme, it helps the audience understand their purpose.

The complexity and ambiguity of the antihero are perhaps what makes them such compelling characters. Hopefully, with these examples and techniques, you can navigate these morally ambiguous characters just as effectively.


#FilmTheory #VideoEssay #Filmmaking

─────────────────────

♬ SONGS USED:

“Confusion (Pump Panel Remix)” by New Order
“A New Morning” by Portal
“Dojo Tradition by In This World
“Revenge of the Sith” by John Williams
“Quantum ii“ by Makeup and Vanity Set
“Whistle Stop” by Roger Miller
“Kyrie” by Bruno Coulais
“Courtroom” by BT
“Breaking Bad Main Theme” by Dave Porter
“Kits” by John Murphy
“Tonight The Comedian Died” by Tyler Bates
“Everlasting” by Lustmord
“Taxi Driver (Main Title)” by Bernard Harrmann
“Tech Talk” by Audionautix
“Fairytale” by Harry Greyson-Williams, John Powell
“Trainspotting” by Primal Scream
“Flower of Carnage” by Meiko Kaji
“The King” Robin Carolan & Sebastian Gainsoboroh
“Woke Up This Morning” by Alabama 3
“Kong On Broadway” by James Newton Howard
“Corporate World” by The Dust Brothers
“What Is Fight Club?” by The Dust Brothers
“Surrey With The Fringe On The Top” by Ahmad Jamal Trio
“Meth Lab Zoso Sticker” by 7Horse
“Cast Your Fate To The World” by Allen Toussaint
“Imagination” by Falls
“Last But Not Least” by Chelsea McGoug
“Raindrops Keep Falling On My Head” by BJ Thomas

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

Looking for a production management solution for your film? Try StudioBinder for FREE today: https://studiobinder.com/pricing

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What is juxtaposition in film — A storyteller’s guide to the myriad of ways to use juxtaposition in film, including imagery, sound design, and editing.

What is a Juxtaposition? ►► https://bit.ly/wi-jx
StudioBinder Blog ►► http://bit.ly/sb-bl

─────────────────────

Chapters:
00:00 - Introduction to Juxtaposition
00:50 - Juxtaposition Defined
03:04 - Chapter 1: Mise En Scène
08:09 - Chapter 2: Sound & Music
13:03 - Chapter 3: Editing
17:30 - Takeaways

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WHAT IS JUXTAPOSITION IN FILM

Juxtaposition is such a common technique in art, it’s easy to miss it. But the artists who have mastered the art of juxtaposition understand how to communicate their ideas on a more sophisticated level. In this video, we’re going to break down the many ways a filmmaker can use juxtaposition in film, including the imagery, the sounds, and the editing.

WHAT IS JUXTAPOSITION

Juxtaposition is the process of placing two or more things together in order to invoke their similarities and/or differences. This helps define the relationship between things, but it also conjures up more intellectual or philosophical ideas about them. One of the most iconic examples of juxtaposition in literature is the opening to Charles Dickens’ A Tale of Two Cities. “It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness…” and it goes on from there. By pairing up these disparate ideas, Dickens paints a layered and complicated picture.

JUXTAPOSITION IN FILM — MISE-EN-SCENE

There are many ways to use juxtaposition in film. We can start with the broad category of mise-en-scene, which includes elements such as color, costume, props, set design, lighting, and even composition. These are visual elements that can be combined to create ideas and meaning greater than the sum of their parts.

JUXTAPOSITION IN FILM — SOUND & MUSIC

On the soundtrack, there are even more options. For example, the opening title sequence for The Shining has peaceful and idyllic landscapes paired with music that inspires dread. The juxtaposition of sound and image, then, creates an unsettling mood. Dialogue can also be paired with imagery that seem to contradict each other. In the opening for Trainspotting, Renton’s voiceover implores the viewer to choose life and many other comforts of the civilized world — all while he evades the police chasing him after a robbery.

JUXTAPOSITION IN FILM — EDITING

Editing is another fantastic way to create juxtaposition in film. As we know from the Kuleshov Effect, cutting from one thing to another creates a relationship between them. So, in Rocky IV, when we see how Rocky trains versus how Drago trains, we understand their dynamics, we establish the odds against our protagonist, and we build each fighter’s characterization at the same time.


#FilmTheory #VideoEssay #Filmmaking

─────────────────────

♬ SONGS USED:

“Singing In The Rain” by Gene Kelly
“Aegeus“ by Makeup and Vanity Set
“A Neverending Beam of Light“ by Makeup and Vanity Set
“Blood Trails“ by Carter Burwell
“Axe Schlomo“ by Marco Beltrami
“Fairytale“ by Harry Greyson-Williams, John Powell
“Beautiful New World“ by Danny Elfman
“Choke“ by Makeup and Vanity Set
“Collapse“ by Makeup and Vanity Set
“Only Fire“ by Makeup and Vanity Set
“The Wanderer“ by Makeup and Vanity Set
“We’ll Meet Again“ by Vera Lynn
“Main Title from The Shining“ by Wendy Carlos and Rachel Elkind
“Stuck in the Middle with You“ by Stealers Wheel
“Lust for Life“ by Iggy Pop
“The Slough Pit of Creation“ by Carter Burwell
“Discovery“ by Makeup and Vanity Set
“Los Paramos“ by Makeup and Vanity Set
“The Peephole“ by Bernard Hermann
“Thor Ragnarok Main Theme“ by Mark Mothersbaugh
“Twisted Nerve“ by Bernard Hermann
“Moonphase IV“ by Makeup and Vanity Set
“Quantum IV“ by Makeup and Vanity Set
“Crush“ by Makeup and Vanity Set

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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Instagram ►► https://www.instagram.com/studiobinder
Facebook ►► https://www.facebook.com/studiobinderapp
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Writing Subtext in Screenplays — covering three key ways a screenwriter can add a secondary and unspoken meaning in their scripts, including subtext in dialogue, actions, and performances.

What is Subtext? ►► https://bit.ly/pa-sx
StudioBinder Screenwriting Software ►► http://bit.ly/sb-sw

─────────────────────

Chapters:
00:00 - Intro — What is Subtext?
01:27 - Subtext Definition and History
04:57 - Technique 1: Embedding Subtext in Dialogue
11:32 - Technique 2: Writing Subtext through Actions
14:42 - Technique 3: Allowing Subtext in the Performance
17:34 - Scene Study: Subtext in Sound of Metal
20:56 - Final Takeaways

─────────────────────

WRITING SUBTEXT IN SCREENPLAYS

In storytelling, as in life, what we say and do is only a fraction of what we really mean. That unspoken or secondary meaning is called subtext, and it is a skill many writers seek to master. In this video, we will cover the mechanics of how to write good subtext in a screenplay, including subtext examples in dialogue, action/description, and the actors’ performances.

WHAT IS SUBTEXT

This idea of “subtext” can be traced back to a legend in the theatre world — Konstantin Stanislavski. As a lesson for actors, he had this to say about subtext: “Keep in mind that a person says only ten percent of what lies in their head, ninety percent remains unspoken.” It’s an insightful truth — think about how much of what’s in your head actually gets expressed. And for writers to capture “truth” in dialogue, character action, and behavior, logic suggests that their screenplays should leave most things “unsaid.”

Another way to understand and define subtext is to explain the relationship between text and context. Text is the surface-level meaning of our words and actions. It is the words we actually say or the actions we take. Context is the circumstances around the text — the culmination of information and events that have led up to the text. Subtext, then, is created by combining the text and context. For example, let’s say the text is someone blowing out birthday candles. But in Scene 1, the context has the character surrounded by friends and family, while Scene 2 has them completely alone. The same text, two different contexts, and two very different subtexts.

HOW TO WRITE SUBTEXT

Subtext in dialogue is perhaps the most obvious way to reveal what’s beneath the surface. When Don Corleone says, “I’ll make him an offer he can’t refuse,” what he really means (the subtext) is, “If he doesn’t do what I’m asking him to do, I will kill him.” Leaving that direct meaning unsaid is far more powerful and menacing.

Beyond dialogue, subtext can also be written into a character’s action. In Pulp Fiction, Jules takes a massive bite out of Brett’s hamburger. Without saying it, this simple act creates a clear message: Jules has all the power.

Finally, the actor’s performance is a more nuanced but huge opportunity for subtext. With clues the writer provides in the script, the actor can use body language to suggest what lies beneath the surface. In Moonlight, Black stares at the door, debating whether to escape another possible heartbreak.

Writing subtext in screenplays is not easy. The temptation writers face is to put everything onto the page as text but, going back to Stanislavski, it’s better to leave things unsaid.


#FilmTheory #VideoEssay #Filmmaking

─────────────────────

♬ SONGS USED:

"Hey Pluto" - Native Rebels
"Exit Strategy" - Alternate Endings
"Help Me" - Lost Ghosts
"Only One Spider-Man" - Daniel Pemberton
"Sincerely" - The Moonglows
"The Alien" - Annihilation OST
"Casino" - Mathaus Passion
"Dust My Broom" - Elmore James
"Track 1" - The Cell Soundtrack
"Everything Thing in its Right Place" - Radiohead
"From Rusholme with Love" - Mint Royale
"Svefn-G-Englar" - Sigur Ros
"Hang me, Oh Hang Me" - Oscar Isaac
"What Have We Done to Each Other" - Trent Reznor & Atticus Ross
"Consummation" - Trent Reznor & Atticus Ross
"The Big Smoke" - Audiomachine
"Gehenna" - 1917 OST
"Prelude" - Bernard Herrmann
"Symphony No.3 Passacaglia" - Allegro Moderato
"Old Skool (Instrumental)" - DaMarcus Van Buren

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

Looking for a project management platform for your filmmaking? StudioBinder is an intuitive project management solution for video creatives; create shooting schedules, breakdowns, production calendars, shot lists, storyboards, call sheets and more.

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Facebook ►► https://www.facebook.com/studiobinderapp
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The Tracking Shot in Film — the ultimate guide to this very popular and useful camera movement, including considerations for lenses, speed, direction, stabilizers, editing, and more.

The Ultimate Guide to the Tracking Shots ►► https://bit.ly/ug-ts
StudioBinder Blog ►► http://bit.ly/sb-bl

─────────────────────

Chapters:
00:00 - Introduction to Tracking Shots
00:54 - What is a Tracking Shot?
02:39 - Chapter 1: Types of Movement
07:30 - Chapter 2: Frame & Angle
11:47 - Chapter 3: Blocking & Staging
14:59 - Chapter 4: Editing & Duration
16:55 - Takeaways

─────────────────────

ULTIMATE GUIDE TO THE TRACKING SHOT

There are many types of camera movement in cinema, but one in particular is perhaps the most common: the tracking shot. In this video, we will explore the art of the tracking shot in film, including the many considerations involved and how this camera movement adds to visual storytelling.

WHAT IS A TRACKING SHOT

A tracking shot is any shot in which a camera independently follows one or more moving characters. This excludes similar shots like a pan or tilt where the camera is otherwise stationary. A camera moving through a location with multiple characters also doesn’t qualify because we aren’t specifically following anyone.

HOW TO DO A TRACKING SHOT

There are many factors to consider when filming a tracking shot. These include the lens, depth of field, speed of movement, direction, what sort of stabilizer to use, framing and camera angle, blocking and staging, and editing.

Wide lenses tend to amplify the speed of a tracking shot, while a telephoto lens can compress the foreground, middle ground, and background to create layers of movement. A shallow depth of field can isolate your subject.

Speed is also a consideration — if you want to generate suspense (go slow), if you want to add energy (go fast). This also determines which direction you want the camera to track the character. Following them from behind might suggest tension or mystery while leading them from the front can create a more powerful or confident perspective.

There are many types of stabilization that each have an effect on the tracking shot. For example, a smooth dolly shot or Steadicam tracking shot vs. a frenetic handheld camera. Drones have recently begun expanding the scope and range of the tracking shot.

Do you want a more neutral tracking shot, try framing the subject in a medium shot. For a more intense or claustrophobic tracking shot effect, tighten the frame into a close-up. Finally, the question becomes, how long do you sustain the tracking shot? Should the shot last for over two minutes, or should you cut between multiple tracking shots instead?

There’s a reason the tracking shot in film is so popular — it can accomplish so many moods and energies. And once you understand how versatile the tracking shot is, you’ll be hooked.


#FilmTheory #VideoEssay #Filmmaking

─────────────────────

♬ SONGS USED:

“All Along the Watchtower” by Jimi Hendrix
“Battle Without Honor or Humanity” by Hotel
“Don’t Let Me Be Misunderstood” by Santa Esmeralda
“HWY 104 Surveying Sands by Makeup and Vanity Set
“Los Paramos by Makeup and Vanity Set
“Tangra by Makeup and Vanity Set
“Kidnappers Lair by Alexandre Desplat
“Lonely Summertime by The Rocking Berries
“Quantum II by Makeup and Vanity Set
“Keep Moving by Makeup and Vanity Set
“Crush by Makeup and Vanity Set
“Nonplus by Makeup and Vanity Set
“The Pursuit of the Falcon by John Williams
“Future Markets by Johnny Greenwood
“Tannhauser Gate by Makeup and Vanity Set
“Toys” by Makeup and Vanity Set

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

Ultimate Guide to the Split Screen in film — a history of the technique, the best split screens in film, and the various ways they can be used to help tell a visual story.

The Ultimate Guide to Split Screens ►► https://bit.ly/ug-sp
StudioBinder Blog ►► http://bit.ly/sb-bl

─────────────────────

Chapters:
00:00 - Introduction to Split Screen Shots in Film
00:50 - Definition and Types
02:32 - Chapter 1: Multiple Perspectives
06:11 - Chapter 2: Character Relationships
08:53 - Chapter 3: Creative Examples
13:19 - Takeaways

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ULTIMATE GUIDE TO THE SPLIT SCREEN

The split screen in film may seem like a modern invention. But, in fact, it goes back to the earliest days of cinema. For over a century, filmmakers have used the split screen effect for many purposes — some purely for stylish imagery, some for visual storytelling that would otherwise be impossible. In this video on the split screen, we’ll cover that history, some of the most creative examples, and how you can employ the same techniques in your next project.

WHAT IS A SPLIT SCREEN

In general, a split screen is any combination of shots presented simultaneously. We divide these into two categories: visible and invisible split screens. The visible split screen is what most people are familiar with, which involves a clear separation between the images with no intention of presenting them as a “single shot.” Invisible split screens, however, are meant to go unseen. This is done when an actor plays multiple roles in the same shot, or when filmmakers like David Fincher and Wes Anderson combine different takes of each character in a single shot.

HOW TO USE SPLIT SCREEN

We’ve identified a few uses for the split screen in film: to convey multiple perspectives, to create relationships between characters, to give montages visual flair, or to literally extend the frame like with systems like Cinerama. We can also see that a split diopter lens can be used to create a similar “split screen effect,” where the frame is divided not by a line but by two distinct focal planes.

In all of these use cases, the split screen expands the visual information and storytelling opportunities beyond what a single image can do.


#FilmTheory #VideoEssay #Filmmaking

─────────────────────

♬ SONGS USED:

"Never Hear Surf Music Again" - Free Blood
"Double Espresso" - Francesco D'Andrea
"Yes I Am (Instrumental)" - Zach Sorgen
"In Motion" - Trent Reznor, Atticus Ross
"Obituary" - Alexandre Desplat
"A Battle in the East" - Rhythm Scott
"All I Need" - Radiohead
"Playground Love (Vibraphone Version)" - Air
"Bucket of Blood" - Pino Donaggio
"Hero" - Regina Spektor
"Animātiō " - Mike Steele
"Dojo Tradition (Instrumental)" - In This World
"Ghosts of Things to Come" - Clint Mansell, Kronos Quartet
"1986" - Angel Salazar
"A New Morning" - Portl
"Main Title (From How the West Was Won (1962))" - Alfred Newman
"Comfort of Strangers (Instrumental)" - Mike Figgis
"Olga's Destruction (Volk tape)" - Thom Yorke
"Blurry (Instrumental)" - Curtis Cole
"Sugar Water" - Cibo Matto

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

Looking for production management solution for your film? Try StudioBinder for FREE today: https://studiobinder.com/pricing

— Join us on Social Media! —

Instagram ►► https://www.instagram.com/studiobinder
Facebook ►► https://www.facebook.com/studiobinderapp
Twitter ►► https://www.twitter.com/studiobinder

What is Characterization — the process of creating and building characters explained, including the two main types indirect and direct characterization with examples in film.

What is a Characterization? ►► https://bit.ly/wi-ch
StudioBinder Blog ►► http://bit.ly/sb-bl

─────────────────────

Chapters:
00:00 - Introduction to Characterization
00:44 - Characterization Definition
02:02 - Chapter 1: Direct Characterization
07:03 - Chapter 2: Indirect Characterization
12:37 - Chapter 3: Characterization in Casablanca
15:57 - Takeaways

─────────────────────

CHARACTERIZATION EXPLAINED

When authors and screenwriters create characters, they do so through a process called characterization. This generally involves providing information to the reader or viewer that builds these characters one layer at a time. By the end of the story, ideally, you would have a fully-formed character inside and out. When done right, the audience receives all this information without realizing it. In this video, we will uncover the two main characterization methods and their importance in creating dimensional, interesting, and engaging characters.

WHAT IS CHARACTERIZATION

Characterization is how writers present and describe their characters. Think about this — the task is to make the audience believe that the character is “real,” at least enough to empathize and engage with them. The audience must understand who these characters are based on how they look, what they say, how they act, where they live, what they wear, etc. A writer could just list off all of this information, but it’s usually more powerful for the audience to do their own assessment. Let’s look at the two main types of characterization.

DIRECT CHARACTERIZATION

In literature, direct characterization is how the author describes the character. In film, unless there is a narrator providing the same information, direct characterization is what we can observe about a character. For example, their appearance. A lot can be communicated immediately through the wardrobe, physicality, and hair/make-up. We can also intuit much about them from their settings, like their homes, car, or how they blend in (or not) with their environment. This is the more objective characterization technique.

INDIRECT CHARACTERIZATION

The other main type is indirect characterization, which is what we can discern about a character through their behavior, actions, and dialogue. As you’ve heard, actions speak louder than words, and it is up to the audience to decipher these actions to complete the characterization. As Robert McKee notes, “The revelation of true character in contrast or contradiction to characterization is fundamental to all fine storytelling.”
Indirect and direct characterization can yield a character we believe in and root for.


#FilmTheory #VideoEssay #Filmmaking

─────────────────────

♬ SONGS USED:

"Pelicans" - Jimit
"A Battle in the East" - Rhythm Scott
"1986" - Angel Salazar
"In Love with Emi" - Fabien Fustinoni
"Double Espresso" - Francesco D'Andrea
"Merge" - Theatre of Delays
"Secret Weapon" - Evgeny Bardyuzha
"Main Title" - Angelo Badalamenti
"Perfect Day (Chris Lord Alge Mix)" - Hoku
"Theme for The Irishman" - Robbie Robertson
"Apartment #604" - Howard Shore
"Off to Work" - Michael Giacchino
"The Fall" - Hans Zimmer
"Dojo Tradition (Instrumental)" - In This World
"Yes I Am (Instrumental)" - Zach Sorgen
"Captain America Main Titles" - Alan Silvestri
"Future Markets" - Jonny Greenwood
"Dark Blood" - Jimmy Svensson
"Cantina Band" - John Williams
"The Throne Room and End Title" - John Williams
"Hand Covers Bruise" - Trent Reznor, Atticus Ross
"Prologue: One Ring to Rule Them All" - Howard Shore
"A Moon Walk (Instrumental)" - Yehezkel Raz
"Medley (Laszlo / As Time Goes By / Orders / Die Wacht Am Rhein / Motor / Ilsa Returns / Telephone / Deutschland Über Alles / La Marseillaise / Plane)" - Max Steiner
"Medley (Paris Montage)" - Max Steiner
"Medley (At La Belle Aurore)" - Max Steiner
"Medley (It Had to Be You / Shine)" - Dooley Wilson
"A Glowing Light, a Promise" - Makeup And Vanity Set
"State Lines (Instrumental)" - Aaron Kellim

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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How to Write Compelling Plot Twists — a writer’s guide to writing plot twists, including the three most important elements to consider (misdirection, clues, and structure).

What is a Plot Twist? ►► https://bit.ly/pp-pt
StudioBinder Screenwriting Software ►► http://bit.ly/sb-sw

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Chapters:
00:00 - Intro — What is a Plot Twist?
01:03 - Plot Twist Types and Definition
02:30 - Technique 1: Misdirection
09:23 - Technique 2: Breadcrumbs
14:25 - Technique 3: Story Structure
18:44 - Final Takeaways

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HOW TO WRITE PLOT TWISTS

When executed well, plot twists in movies can be shocking and thrilling at the same time. The best pilot twist movies figured out how to deliver these reversals to the audience so they don’t feel cheated. Anyone can be revealed as the killer in the end, but writing plot twists that work requires thoughtful consideration, misdirection, and clues. In this video, we’ll look at some of the most compelling plot twists in movies and the three elements that every writer should consider when learning how to write the perfect plot twist.

WRITING PLOT TWISTS REQUIRES MISDIRECTION

A plot twist is when the storyteller flips reality on its head, presenting an unexpected truth that changes everything. Misdirection is a key element in how this is done — focusing the audience’s attention in one area while the truth is hidden in another. But there are unspoken rules when it comes to writing plot twists, the primary of which is that the big reveal needs to make logical sense. And to lay the groundwork for the plot twist to not feel like a cheat, the writer needs to incorporate clues, which we like to call breadcrumbs.

COMPELLING PLOT TWISTS HAVE CLUES

For a truly satisfying reversal, as we can see in the best plot twist movies, the writer and director should leave clues that are only apparent on a second viewing. Those tiny details that flew under the radar now appear to be so obvious in hindsight. This is easier said than done — since even the most casual movie-goer knows everything we see or hear is important. The trick is learning how to drop those breadcrumbs in such a way that the viewer can easily disregard them.

WHEN TO REVEAL THE PLOT TWIST

A final consideration is to decide when and where the big plot twist is revealed. Naturally, every story is different, so there is no “one size fits all” approach to structuring compelling plot twists. Some of the best plot twist movies flip the script at the midpoint when the last thing you expect is for the story to take a completely different direction. In many cases, the best plot twists are unveiled as a break into Act 3, propelling the story toward its climax. Some filmmakers save their shocking reveal for the very end, leaving the audience slack-jawed as the credits roll.

The art of a plot twist is a delicate balance between the amount of misdirection, the dispensing of clues, and where in the story the plot twist will have the greatest impact.


#FilmTheory #VideoEssay #Filmmaking

─────────────────────

♬ SONGS USED:

"Technically, Missing" - Trent Reznor, Atticus Ross
"The Imperial March (Darth Vader's Theme)" - John Williams
"Shark Alert" - The Magnetic Buzz
"Last But Not Least (Instrumental)" - Chelsea McGough
"In Love with Emi" - Fabien Fustinoni
"Going Undercover" - Borrtex
"Verbal Kint" - John Ottman
"Memento (Main Theme)" - David Julyan
"The Cue From Hell" - Marco Beltrami
"Schoolyard 2"
"A Battle in the East" - Rhythm Scott
"Still Need Syndrome" - Yarin Primak
"Malcolm's Story / Cole's Secret" - James Newton Howard, Pete Anthony
"Malcolm Is Dead"
"Passacaglia - Allegro moderato" - Polish National Radio Symphony Orchestra
"On the Nature of Daylight" - Max Richter
"Glass" - Claudio Laucci
"1986" - Angel Salazar
"The Murder" - Bernard Herrmann
"Prologue" - Michael Abels
"Hypnosis"
"Lost" - Generation Lost
"Noah Visits" - James Newton Howard
"The Shed Not To Be Used"
"State Lines (Instrumental)" - Aaron Kellim
"Twist and Shout" - The Beatles

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

Looking for a project management platform for your filmmaking? StudioBinder is an intuitive project management solution for video creatives; create shooting schedules, breakdowns, production calendars, shot lists, storyboards, call sheets and more.

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

— Join us on Social Media! —

Instagram ►► https://www.instagram.com/studiobinder
Facebook ►► https://www.facebook.com/studiobinderapp
Twitter ►► https://www.twitter.com/studiobinder

Anatomy of a Great Scene — dissecting the four main elements of a great scene, including conflict, plot function, character development, and blocking & staging.

How to Write a Great Scene ►► https://bit.ly/an-gs
StudioBinder Blog ►► http://bit.ly/sb-bl

─────────────────────

Chapters:
00:00 - Introduction to Great Scenes
00:56 - What Makes a Scene Great?
03:08 - Chapter 1: Conflict
08:21 - Chapter 2: Character Development
12:42 - Chapter 3: Plot Function
16:25 - Chapter 4: Blocking & Staging
20:18 - Deep Dive: The Silence of the Lambs
25:03 - Takeaways

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ANATOMY OF A GREAT SCENE

What makes a great movie scene? While no two scenes are the same, there are consistent elements of a great scene. In this video, we’re going to take a scalpel to some of the best scenes in film history to understand the anatomy of a great scene. These include conflict, character development, plot function, and blocking & staging. A great scene doesn’t need all four of these elements — the recipe for each scene is unique and variant. Let’s look at them individually.

Without conflict, there would be no storytelling. Through the course of a single story, the protagonist must encounter conflict and obstacles in the way of their goal. At a scene level, the conflict can be minimal as long as their is sufficient conflict overall. And there are different types that can be employed like physical, verbal, internal, or environmental conflict.

A great scene should also be designed to serve the character along their arc. An individual scene can function as a tiny nudge in that direction or a full-on shove — but without some effect on the character, you might have to question if you need the scene at all.

The same criteria applies to how the scene functions on a plot level. Does the scene move the plot forward (and in the right direction) or does it slow the pacing and feel out of place? It’s one thing to write a great scene on its own but if it doesn’t add to the storytelling, it’s best to cut it.

Finally, it is the director’s responsibility to turn these written elements into a functional scene with blocking and staging. Is the camera static or would the scene benefit from a slow push in? Is there a way to use the character’s movements in the scene to enhance the conflict or character development?

The combination and execution of these elements is completely flexible and subjective. But when the elements of a great scene come together, there’s nothing better.


#FilmTheory #VideoEssay #Filmmaking

─────────────────────

♬ SONGS USED:

“Bohemian Rhapsody” by Queen
“Twin Peaks Theme” by Angelo Badalamenti
“Night Piece for Saxophone and Orchestra” by Bernard Herrmann
“Blood Trails” by Carter Burwell
“The Verdict” by Ennio Morricone
“Father Son” by Makeup & Vanity Set
“Ghostbusters” by Ray Parker Jr.
“Mystery Math” by Danny Elfman
“Water, Ocean” by by Jung Jae Il
“The Braying Mule” by Ennio Morricone
“Treat Her Right” by Roy Head
“Hinting” by The Kitimangoes
“Heat” by Kronos Quartet
“Adagio Per Archi E Organo in Sol Minore” by David Parry
“Los Paramos” by Makeup & Vanity Set
“Jack’s Smirking Revenge” by The Dust Brothers
“Shallow” by Lady Gaga and Bradley Cooper
“Tsiolkovskij” by Makeup & Vanity Set
“The Searchers Soundtrack Suite” by Max Steine
“Toys” by Makeup & Vanity Set
“Citizen Kane Suite” by Bernard Herrmann
“Dead Already” by Thomas Newman
“Singin’ In The Rain” by Gene Kelly
“Bulletin Board” by Howard Shore
“Visit to Lecte”r by Howard Shore
“You Look Like A Rube” by Howard Shore
“A Neverending Beam of Light “by Makeup & Vanity Set
“Tangra” by Makeup & Vanity Set

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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— Join us on Social Media! —

Instagram ►► https://www.instagram.com/studiobinder
Facebook ►► https://www.facebook.com/studiobinderapp
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Film Tropes Explained — storytelling tropes often get a bad rap, but they can be quite useful. This video explores the most common movie tropes, why they work, and how to be creative with them.

What are Tropes? ►► https://bit.ly/cl-gt
StudioBinder Blog ►► http://bit.ly/sb-bl

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Chapters:
00:00 - Introduction to Film Tropes
01:01 - Spoilers
01:17 - Trope Definition & History
02:07 - Chapter 1: Character Tropes
08:36 - Chapter 2: Plot Tropes
14:55 - Chapter 3: Tropes in Dialogue
20:12 - Chapter 4: Cinematic Imagery
24:18 - Takeaways

─────────────────────

FILM TROPES EXPLAINED

One of the most pervasive complaints about movies is that they all seem the same. The repetitions we point to are called tropes, which have since been considered negative. But there is a reason why film tropes exist and why they work. In this video, we want to dispel the notion that film tropes are always bad and never good. We will also provide some creative solutions to achieve the best of both worlds — familiarity, and freshness.

WHAT ARE TROPES

From the original literary definition, a trope is the use of figurative language. But the more common understanding these days is that tropes are anything that recurs in a story, often to the point of overuse. Film tropes can be found in character types, plot points, dialogue, and imagery.

CHARACTER FILM TROPES

Characters can easily become tropes. The Mad Scientist, the Bully, the Damsel in Distress — by name alone, these are recognizable character film tropes. When writers include these character tropes in their work, there is shorthand with the audience. But without tweaking those expectations in some way, the audience will notice.

PLOT FILM TROPES

Like characters, we can point to a number of recurring plot points, which are often genre-specific. Love triangles, dreams, the heroic sacrifice are just a few examples of plot tropes we’ve seen a thousand times. But, again, instead of rejecting these movie tropes outright, writers can embrace them as opportunities to challenge our expectations to create something new.

DIALOGUE FILM TROPES

Dialogue, too, is a common source of film tropes. How often have you heard lines like, “I’ve got a bad feeling about this” or “Don’t you die on me”? Because these lines are so overused, they can be repurposed for comedy instead of drama.

IMAGERY FILM TROPES

Locations, like abandoned warehouses or idyllic suburbs, can be tropes. Walking away from an explosion is a recent trope, as is the overhead crane shot as someone dies. The imagery itself is familiar, which can be an economical way to communicate an idea, but audiences still require something more.

Film tropes are ever-present but also always evolving. The idea is to embrace what makes these tropes work and find a way to make them work again with slightly new or different elements.


#FilmTheory #VideoEssay #Filmmaking

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♬ SONGS USED:

“Oops!...I Did It Again” by Britney Spears
“The Path” by Gustavo Santaolalla
“A Neverending Beam Of Light” by Makeup and Vanity Set
“Binary Sunset” by John Williams
“Aegis” by Makeup and Vanity Set
“Simba” by Les Baxter
“Dojo Tradition” by In This World
“Unloved” by Sigh
“Nicaragua” by Jerry Goldsmith
“I Heard Ramona Sing” by Frank Black
“What Is Fight Club” by The Dust Brothers
“Previous on Jump Street" by Mark Mothersbaugh
“Escape From New York Them” by John Carpenter
“The Gambler” by Kenny Rogers
“Los Paramos” by Makeup and Vanity Set
“Baba ORiley” by The Who
“Off You” by The Breeders
“Tannhäuser Gate” by Makeup and Vanity Set
“Blue Velvet” by Lana Del Rey
“Mary Had A Little Lamb” by Stevie Ray Vaughan
“Arachnoventure” by Michael Giacchino
“The Wanderer” by Makeup and Vanity Set
“Hello Vietnam” by Johnny Wright
“Go” by Makeup and Vanity Set
“Hold On” by Makeup and Vanity Set

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

Looking for a production management solution for your film? Try StudioBinder for FREE today: https://studiobinder.com/pricing

— Join us on Social Media! —

Instagram ►► https://www.instagram.com/studiobinder
Facebook ►► https://www.facebook.com/studiobinderapp
Twitter ►► https://www.twitter.com/studiobinder

The Anatomy of a Screenplay — the ultimate guide to screenplay format, the elements of a film script, and why these things are so important in the filmmaking process.

What is a Screenplay? ►► https://bit.ly/wi-sp
StudioBinder Blog ►► http://bit.ly/sb-bl

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Chapters:
00:00 - Introduction to Screenplay Formatting
01:00 - History of the Screenplay
03:32 - Chapter 1: Screenplay Elements
11:31 - Chapter 2: Formatting
16:45 - Chapter 3: Creative Applications
21:24 - Takeaways

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THE ANATOMY OF A SCREENPLAY

The screenplay is a medium every knows but there is a lot more going on in this form than people realize. In this video, we’re going to look at the history of the screenplay, movie script format and why it’s important, and some creative exceptions that push the artform forward.

ELEMENTS OF A FILM SCRIPT

There are six basic elements in the anatomy of a film script and their format and function is 99% consistent from script to script. These include the scene heading, action/description, character, dialogue, parentheticals, and transitions. Scene headings denote the location and time of day a scene takes place, as well as whether it is an interior or exterior scene. The action/description provides all the non-dialogue storytelling — introducing characters, describing the action from beat to beat, etc. Character cues mark a specific character’s dialogue, which can be augmented with parentheticals for more direction on the delivery of the dialogue. And finally, transitions can be included to mark the definition switch between scenes, especially if that switch contains relevant storytelling material.

THE PURPOSE OF MOVIE SCRIPT FORMAT

The reason why movie script format is so uniform goes back to the days when making movies was more like a factory assembly line. This allows ADs and producers to accurately estimate critical information like budget and schedule. On average, each page of properly formatted script equals a minute of screentime. That page is then divided into 1/8ths to schedule each shooting day.

For beginning writers, it is important to follow these “rules” because the people who decide whether to buy and/or produce your script expect “professionalism” and something familiar they can recognize an assess. If you hand in a script that follows none of these rules, your chances of it being read passed page one are slim to none.

You might have the best idea for a script but unless you understand the anatomy of a screenplay and the in’s and out’s of movie script format, it might never see the light of day.


#FilmTheory #VideoEssay #Filmmaking

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♬ SONGS USED:

“Maple Leaf Rag” by Scott Joplin
“Main Theme (The Shining)” by Wendy Carlos and Rachel Elkind
“Seance” by Snowman
“Ægus” by Makeup and Vanity Set
“Welcome” by Justin Hurwitz
“Searching For ET” by John Williams
“Main Title (Maps to the Stars)” by Howard Shore
“Quantum IV” by Makeup and Vanity Set
“Tannhäuser Gate” by Makeup and Vanity Set
“The Alien” by Ben Salisbury & Geoff Barrow
“Imhotep” by Jerry Goldsmith
“The House That Hårga Built” - Bobby Krlic
“Main Title (Willy Wonka)” by Leslie Bricusse & Anthony Newley
“American Psycho” by John Cale
“Carson City” by Mark Mancini & Trevor Rabin
“The Secret of the Scrolls” by John Williams
“Training Montage” by Vince DiCola
“Rubber Band Man” by The Spinners
“Memory Gospel” by Moby
“Los Paramos” by Makeup and Vanity Set
“Mulholland Drive Main Theme” by Angelo Badalamenti
“Crush” by makeup and Vanity Set
“20-30” by Red Licorice
“Main Titles (Charlie and the Chocolate Factory)” by Danny Elfman
“Apogee” by Longlake
“Welcome to Jurassic Park” - John Williams
“Name of the Game” by The Crystal Method
“Bathroom Dance” by Hildur Guðnadóttir
“Drive In” by Jon Brion
“Malcolm and Martin” by The Natural Spiritual Orchestra
“Lady Bird” by Jon Brion
“Halloween Theme” by John Carpenter
“Julia” by Makeup and Vanity Set

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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Facebook ►► https://www.facebook.com/studiobinderapp
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Three Act Structure Explained — writer and story expert K.M. Weiland breaks down three-act structure and how it works using Jurassic Park.

What is the Three Act Structure? ►► https://bit.ly/wi-3a
Watch the Full Interview with K.M. Weiland ►► https://bit.ly/km-in
StudioBinder Blog ►► http://bit.ly/sb-bl

K.M. Weiland resources:
Helping Writers Become Authors (Blog) ►► https://bit.ly/km-bl
K.M Weilan (YouTube) ►► https://bit.ly/km-yo
Structuring Your Novel (Book) ►► https://bit.ly/km-sn
Writing Archetypal Character Arcs (New Book) ►► https://bit.ly/km-ac

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Chapters:
00:00 - Introduction to the Three Act Structure
00:49 - Why the Three Act Structure Matters
03:24 - Part 1: The Hook
06:18 - Part 2: Inciting Event
08:16 - Part 3: 1st Plot Point
11:16 - Part 4: 1st Pinch Point
14:36 - Part 5: Midpoint
17:45 - Part 6: 2nd Pinch Point
20:11 - Part 7: 3rd Plot Point
22:54 - Part 8: Climax
25:56 - Takeaways

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THREE-ACT STRUCTURE EXPLAINED

If you’re a writer, hoping to be a writer or even a casual movie-goer, you’ve probably heard of three-act structure. More than simply “beginning, middle, and end,” three-act structure is dominant in Western storytelling. And in this video, we sat down with writer and story expert K.M. Weiland as she breaks down the eight parts of three-act structure, how they work, and what they aim to accomplish. To do this, Weiland dissects one of the best-structured movies of all time — Steven Spielberg’s Jurassic Park, written by David Koepp based on a novel by Michael Crichton.

WHAT IS THREE-ACT STRUCTURE

While the concept of a three-act structure is fairly recent, stories have followed this pattern for centuries. Act One introduces us to the characters, their world, and the major conflict. Act Two sees the characters set out to resolve that conflict and attain whatever goals were established in the previous act. Act Three contains the final test or confrontation that will decide the outcome of this pursuit with either success, failure, or something in between. In a nutshell, this is the structure that most stories, novels, films, TV shows, or any other narrative medium follow.

DOES THREE-ACT STRUCTURE WORK?

Yes, it does, but not for every story. Shakespeare often constructed his plays in five acts. The three-act structure is ubiquitous in Western storytelling and, therefore, has, in some circles, garnered a negative reputation as being creatively restrictive. But as Weiland explains, story structure of any kind doesn’t preclude creativity — it is merely the container, and what is inside (the characters, the plot, the themes, etc.) is the real gift.

Learning three-act structure is a way to grasp the fundamentals of storytelling. That way, when bending or breaking those rules becomes necessary, it can be done without sabotaging a story’s chances of reaching and connecting with the audience.


#FilmTheory #VideoEssay #Filmmaking

─────────────────────

♬ SONGS USED:

"Fratres (Version for Cello & Piano)" - Avro Pärt
"A Battle in the East" - Rhythm Scott
"Last But Not Least (Instrumental)" - Chelsea McGough
"All Star" - ANBR
"Journey To The Island" - John Williams
"War Banner (Instrumental)" - Cody Martin
"Incident At Isla Nublar" - John Williams
"The Princess Appears" - John Williams
"Shining Star" - Earth, Wind & Fire
"The Hands Dealt" - Michael Giacchino
"Theme From Jurassic Park" - Michael Giacchino
"1986" - Angel Salazar
"Three Is Company" - Howard Shore
"Welcome To Jurassic Park" - John Williams
"British News Team" - Lance Conrad
"Glass" - Claudio Laucci
"T-Rex Rescue & Finale" - John Williams
"The Raptor Attack" - John Williams
"Crystal Clear (Instrumental)" - Tiko Tiko
"Dennis Steals The Embryo" - John Williams
"Terminal' - Stanley Gurvich
"Many Mothers" - Junkie XL
"High-Wire Stunts" - John Williams
"Merge" - Theatre of Delays
"Forrest Gump Suite" - Alan Silvestri
"State Lines (Instrumental)" - Aaron Kellim

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

Looking for a production management solution for your film? Try StudioBinder for FREE today: https://studiobinder.com/pricing

— Join us on Social Media! —

Instagram ►► https://www.instagram.com/studiobinder
Facebook ►► https://www.facebook.com/studiobinderapp
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MODERN MEN LEARNING FROM THE OG'S #JUDGE #JOE #BROWN

https://www.youtube.com/@esquireentertainment3430

WHY ARE YOUNGER BLACK MEN REFUSING TO DATE BLACK WOMEN?