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Get Out pushes the limits of horror, but how? Learn what goes into each frame and how to make a shot list. ►► http://bit.ly/2BOijTz

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––– More Popular Shot Lists from Filmmakers –––

P.T. Anderson ► http://bit.ly/2AgYXWX
Terrence Malick ► http://bit.ly/2z5FJiY
Christopher Nolan ► http://bit.ly/2mM4C1t
Nicolas Winding Refn ► http://bit.ly/2z5FJiY
Quentin Tarantino ► http://bit.ly/2hFTBct
Andrei Tarkovsky ► http://bit.ly/2hFTBct

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Kubrick’s Directing Style Explained ►► https://bit.ly/kubrick-style
Eyes Wide Shut Moodboard ►► https://bit.ly/kubrick-ews
Color Theory Ebook ►► https://bit.ly/c-eb
Cinematography Checklist ►► https://bit.ly/camera-cl
Music in Film ►► https://bit.ly/music-film

Chapters:
00:00 What Makes Kubrick's Movies So Timeless?
01:49 Kubrick's Stories — Approach to Scripting
03:36 Kubrick's Production Design — Thematic Design
06:19 Kubrick's Colors — Colors...Elevated (Eyes Wide Shut)
09:02 Kubricks' Cinematography — The Overlook Hotel
12:41 Kubrick's Editing — Edit for Internal Montage
14:51 Kubrick's Sounds — The Sounds of Silence
16:26 Kubrick's Music — Ironic Music
19:42 How to Define "Kubrickian"

Stanley Kubrick will go down as one of the greatest filmmakers of all time. No question. But why? What makes his filmmaking so outstanding? In this video essay, our task (and not an easy one) will be to dig inside Stanley Kubrick’s directing style to see if we can unlock the secrets within. From his scriptwriting, production design, color, cinematography, film editing, sound design, and film music — his mastery of all these filmmaking elements is legendary.

Stanley Kubrick only made 13 movies in his lifetime, but they are all considered classics. Not only the best movies in their respective genres but also some of the best movies ever made. Dr Strangelove, 2001 A Space Odyssey, A Clockwork Orange, The Shining, Full Metal Jacket, and Eyes Wide Shut, just a few iconic Stanley Kubrick movies you may have heard of. Despite their dissimilarities, behind each is filmmaking craftsmanship at its finest.

With regards to Kubrick’s scriptwriting, his consistent focus is the human experience, where big questions are left unanswered. In his production design, he will echo the prevailing themes of each film into the set design and costumes. Stanley Kubrick is often associated with his cinematography, including his wide shot compositions, practical lighting, and those iconic tracking shots. Any fan of color theory will have a field day with Kubrick’s colors, which sail past subtle and overwhelm us.

Kubrick doesn’t overly cut his films — his film editing is reserved and patient. On the soundtrack, Stanley Kubrick might go light on sound design but more than compensates with dramatic and enthralling film music.

In the world of film theory and film analysis, Stanley Kubrick has left us 13 amazing films that we will endlessly puzzle over, dissect, and interpret. In film directing, he has set the bar for directors everywhere. And while we never get another Stanley Kubrick movie, what he has given us will last forever.

#FilmTheory #VideoEssay #Filmmaking

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How to create suspense in film — A breakdown of three different methods using suspense scenes from movies like Zodiac, The Thing, and Drive.

What is Suspense: Elements Explained ►► https://bit.ly/hd-su
Sound Design & Editing in Drive ►► https://bit.ly/sd-di
StudioBinder Blog ►► http://bit.ly/sb-bl

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Chapters:
00:00 - Intro to Crafting Suspense
00:53 - What are the Elements of Suspense
02:30 - Chapter 1: Suspense with Sound
06:37 - Chapter 2: Suspense with Editing
11:45 - Chapter 3: Suspense with Cinematography
16:23 - Final Thoughts/Takeaways

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HOW TO CREATE SUSPENSE IN FILM

You know those moments in a movie when you hold your breath, your muscles tense up, and you can barely keep your eyes on the screen? There is nothing quite as thrilling as a good suspense scene. And to understand how they work, we have to pick apart their elements. In this video, we’re going to look at some of the best suspense scenes from movies. Specifically, three scenes that each use a different filmmaking element to guide the suspense: sound design, cinematography, and editing.

SOUND DESIGN FOR SUSPENSE

In Nicolas Winding Refn’s Drive, there are a few white-knuckle scenes. In the pawn shop robbery, the heist happens off-screen as we simply wait outside, in the quiet, with Driver. It is the lack of sound that keeps us on edge. One of the key ingredients in suspense is uncertainty — how will this scene end? And because we hear nothing of the robbery inside, our uncertainty remains high. The gentle but insistent ticking of Driver’s watch reminds us that time is running out but the quietness overall makes it feel like something bad is going to happen. And it does.

EDITING FOR SUSPENSE

Editing is usually the star of the show when it comes to creating suspense in film. Time is another essential element and how long the editor delays the outcome dictates the amount of suspense. In John Carpenter’s remake of The Thing, the iconic blood test scene is a taut and claustrophobic set piece. With very little sound design or music, it is the editing that really builds the suspense. By keeping each shot of the suspects in the same, tight close-ups we get no relief from the tension. Additionally, this consistency of close-ups also keeps our suspicions even across all the suspects. Finally, as MacReady proceeds with the first test, we cut back and forth between the blood and the reactions over a dozen times, delaying the result and tightening the suspense.

CINEMATOGRAPHY FOR SUSPENSE

In our final example, we look at the iconic Zodiac basement scene where Graysmith finds himself in the presence of the potential killer he’s been investigating. Here, it is the cinematography, including the lighting, camera angles, and camera movement, that creates such a terrifying scenario. As soon as Graysmith realizes Mr. Vaughn might be the Zodiac, the lighting seems to shift from even and neutral to high-contrast and horror film-esque. First, he is trapped in a close-up with Vaughn looming in the background. As they enter the basement, the low angle shot brings the ceiling on top of Graysmith, trapping him even more. And the lighting on Vaughn gets more and more sinister until he disappears completely into the shadows.

The best suspense scenes in movies use one or all of these techniques to draw out the time, elevate our uncertainty, and raise the stakes (and our heart rates).


#FilmTheory #VideoEssay #Filmmaking

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♬ SONGS USED:

"Dream of Arrakis" - Hans Zimmer
"Merlin's First Test" - Henry Jackman and Matthew Margeson
"Secret Weapon" - Evgeny Bardyuzha
"Nightcall" - Kavinsky
"Tick Of The Clock" - Chromatics
"The Border" - Jóhann Jóhannsson
"Main Theme - Desolation" - Alan Howarth & Larry Hopkins
"Burn It" - Alan Howarth & Larry Hopkins
"Contamination" - Alan Howarth & Larry Hopkins
"Conspiracy Theories" - Jean Pol Cornelis
"Graysmith Obsessed" - David Shire
"Graysmith's Theme (Piano Version)" - David Shire
"Confrontation" - David Shire
"Kinotrope" - Luke Melville

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

─────────────────────

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In today’s video we define long takes, and show you different examples to illustrate how you can enhance setting, plot, and character through the use of a long take.

Then we break down how you can build your own effective long take for your next project.

That way, you can add this technique to your cinematic arsenal for 2019.

Most everyone loves a good long take. They have an undeniable energy that is hard to replicate, and they’ve become the favorite for many modern filmmakers.

Many Oscar-winning films in the last five years have made long takes their visual theme.

Not every long take is created equally, and there are some simple steps you can take before, during, and after you record your own opulent long take.

There are 3 different story elements that you can affect with a long take:

1. Character long takes occur when this cinematic technique puts us in the shoes of a specific character or set of characters in a scene. It doesn’t always have to be our hero, and the main idea is to film your scene so that we feel the emotions that the characters are feeling.

2. Setting long takes occur when we are transported to the physical location in the scene. We need to feel as if we are there, walking through the street, or around the property, or along the beach. Take us on a journey.

3. Plot long takes occur when this cinematic technique places us into the emotional context of the plot in a scene. We need to feel an omniscient sense of connection to a particular chain of events that is leading us toward our eventual narrative destination.

We go even further in the video, so start watching and learn more about long takes today!

#filmmaking #cinematography #longtakes #longtake #bestlongtakes

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7 Best Film Lighting Techniques ►► http://bit.ly/7-flt
Watch Part 1 ►► http://bit.ly/deakins-part1
Special Thanks to the Team Deakins podcast ►► http://bit.ly/td-pc

Chapters:
00:00 - Roger Deakins' Lighting Process
00:51 Chapter 1: Learn Your Film Lights
01:54 Chapter 2: Lighting the Night
03:04 Chapter 3: Mix Your Lights
04:50 Chapter 4: Lighting Faces

Roger Deakins returns with part two of his discussion on “learning to light.” In the previous episode of Cinematography Techniques, Roger Deakins walked us through the fundamentals of how to observe light and how still photography became a major inspiration. This time, we’ll get a little more practical as Deakins touches on night shooting, lighting the human face, the subtle art of mixing light in a shot, and knowing which light is best for the job.

In Chapter One, Deakins stresses the importance of knowing the different light available and their characteristics. In this case, he mentions using a skypan in Blade Runner 2049 to create sharp, moving shadows in the scenes at Wallace Corp. The next chapter centers on shooting nighttime scenes that actually look like night — compared to scenes where a pronounced blue or green tint is added to simulate moonlight. If you’ve seen his work, you know that a big part of Roger Deakins’ cinematography is working in the shadows.

Roger Deakins admits one of his “biggest conundrums” is mixing light. From his schooling, he was always taught to match his color sources — a holdover “rule” from the Technicolor days. Deakins mentions a scene from True Grit where he lit a campfire scene by mixing firelight with the moonlight, as opposed to previous Western cinematography techniques that kept a more uniform light in every scene.

Finally, Deakins talks about a fundamental technique in photography and cinematography — lighting the human face. He quotes a fashion photographer who said, “If you can photograph a human face, you can photograph anything.” It’s more than simply adding light to the face, it’s about how you angle, diffuse, and create contrast with the light to brings out that person’s character. There’s a lot more to learn from cinematographer Roger Deakins that we’ll explore in future episodes. Stay tuned for the next episode of Cinematography Techniques.


#FilmTheory #VideoEssay #Filmmaking

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Learn the secrets behind making a compelling web or TV series! ***** Get instant access to the FREE TV Writing & Development Masterclass 👉👉 http://bit.ly/2MnKJtU

We're in a golden age of television.

More and more people are flocking to the small screen to find daily entertainment. So how can you break put from the pack and get your idea onto the small screen? We're here to help.

Whether or not you're a professional writer, or starting your first outline, this screenwriting tips series will help you brainstorm and create an exciting story that's marketable and relevant in the golden age of television.

The appetite for great television has never been higher than it is right now. People are finding shows that connect with them on networks, cable, and digital platforms.

With all these shows, it can be hard to get your idea to stand out. You can't only have an idea, you need a script, a bible, a pitch, and it has to look and feel professional.

In this series, we'll take you through the entire process, from ideation to completion. Each episode will zero in on specific screenwriting tips and screenwriting techniques that can help you on your journey to become a professional writer.

Regardless of your intention to move to Hollywood, win a screenwriting contest, or just write something you'll produce yourself, these methods will push you to become the best writer you can be and have it reflect on the page.

Music used:
"Sweet Like Candy" by Uppeach
"Strolling in the City" by Jo Masino
"Grit 'N' Dirt" by Fillmore
"Crimson Sky" by Stanley Gurvich

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Create your FREE shot list here ►► http://bit.ly/2AfVYwC

Shot lists are the best way to organize your visual goals for your scenes. That said, there are an infinite amount of choices for different shots, and not all shot lists include the necessary information needed to get the intended visuals.

Our video breaks down the purpose of a shot list, and how to effectively build one with both technical and creative considerations that should go into your shot listing process.

You’ll also learn about:

When to follow the shot list
When to ignore the shot list
How to use your shot list on set

We also go over how your shot list can be used long before your scene is captured, as well as after the scene is already finished. How it can help everyone on your team including the editor, cinematographer, and especially the director.

When you finish this video, you will understand why shot lists are so valuable, and that building an effective shot list is one of the most important parts of the filmmaking process.
You can also create a free shot list using our shot list template at the end.

The end result: You will understand shot lists better than you did before, and be on your way to building your own professional shot list.

#shotlisttemplate #shotlistexample #filmmakingshotlist

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Have you ever felt like you’re stuck in a creative loop? You start a script, get halfway done, but because you can’t figure out the ending, you abandon it, then start a new one. And then it happens again. And again. ►► http://bit.ly/2H4HiFY

So writer/producer Dan Harmon tackled this problem.

He took centuries of storytelling principles and turned them into an easy-to-use guide for building a compelling story.

One circle. Eight steps.

Understanding good narrative structure won’t just make you a better writer.

It’ll make you a better storyteller.

Today, we’re going to look at Christopher Nolan’s ‘The Dark Knight’, a film with a seemingly complex plot, that we can break down into the 8 steps of the story circle.

The theory boils down to three sentences:

(1) A character is comfortable (2) but they see something they want, (3) So they head out into uncharted territory to get it (4) but have to change in order to succeed. (5) When they finally grasp it, (6) they pay a hefty price (7) and return to their original situation (8) having changed inside (and sometimes outside).

Keep watching and see how this applies to Batman!

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––– More popular videos –––

P.T. Anderson ► http://bit.ly/2AgYXWX
Terrence Malick ► http://bit.ly/2z5FJiY
Christopher Nolan ► http://bit.ly/2mM4C1t
Nicolas Winding Refn ► http://bit.ly/2z5FJiY
Quentin Tarantino ► http://bit.ly/2hFTBct
Andrei Tarkovsky ► http://bit.ly/2hFTBct

––– Manage your video project –––

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StudioBinder is a powerful and intuitive project management solution for video creatives; create shooting schedules, breakdowns, production calendars, shot lists, storyboards, call sheets and more.

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What is a protagonist — a rundown of a story’s main character, the various types, their characteristics and inspiration for how to write a great protagonist.

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

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Chapters:
00:00 - Introduction to Protagonists
00:48 - Protagonist Definition & History
02:42 - Hero Protagonist
04:19 - Non-Traditional Protagonists
08:55 - Multiple Protagonists
11:56 - Takeaways

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WHAT IS A PROTAGONIST IN A STORY

Most people understand that the protagonist is the main character in a story. But what is a protagonist, really? Are there special qualities they possess? And what happens if there are multiple protagonists? In this video, we’ll answer these questions, get into a little history of where the protagonist came from, their various types, and how writers can approach how to write a great protagonist.

HOW DO WE DEFINE PROTAGONIST

The protagonist is the lead character in a narrative. Typically, they have a goal they pursue, they make choices to advance the plot, and they will have some sort of character arc. If we go back to Ancient Greek theatre, we can see how the protagonist emerged. At the time, poems and tragedies were performed for an audience by a masked chorus (often 50 people) singing or speaking in unison. But then a poet named Thespis broke with tradition by having one actor, separate from the chorus, perform all of the parts of the story by simply switching masks. This is where we get the term “protagonist” which translates to “first actor.”

TYPES OF PROTAGONISTS

The most common and traditional type of protagonist is the hero. Originally, these were noble-born, pre-destined characters who were also strong, brave, and righteous. Over time, we see heroes with varying degrees of these characteristics.

Beyond the traditional hero, there are anti-heroes, tragic heros, passive protagonists, and villain protagonists. Anti-heroes lack heroic qualities but they still pursue a righteous cause. Tragic heroes are just like traditional heroes except they have a fatal flaw in their character that leads to their downfall. Passive protagonists are still the main character but are forced into the story rather than making their own active choices. And villain protagonists are exactly that — villains who are the central figure in the story.

MULTIPLE PROTAGONISTS

But what about when there is more than one protagonist? Romantic films, both comedies and dramas, often feature two protagonists with equal weight in the story. There are also secondary and tertiary protagonists called deuteragonists and tritagonists, which are still main characters but fulfill more supporting roles. For example, in the Lord of the Rings, Frodo is the protagonist, Sam, Gandalf, and Aragorn are deuteragonists, and the rest of the fellowship are tritagonists. Finally, there are situations when two characters split the protagonist role among themselves. For example, in The Shawshank Redemption, it is Andy’s story and he is the one driving the plot forward, but we see all of this through Red’s eyes, and it is he who has the character arc.

Writers have many options when it comes to writing a strong protagonist. As we can see, there is a perfect option or combination of options for any story.


#FilmTheory #VideoEssay #Filmmaking

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♬ SONGS USED:

"Density Wave" - Aviad Zinemanas
"Yes I Am (Instrumental)" - Zach Sorgen
"Morning Sunbeams" - Yehezkel Raz
"Distant Worlds" - Theatre of Delays
"Somewhere" - Daniele Musto
"Main Title / Trinity Infinity" - Don Davis
"Day One" - Hans Zimmer
"Full Access" - Jimmy Svensson
"Cosmos" - Theatre of Delays
"Dark Blood" - Jimmy Svensson
"Battle Without Honor Or Humanity" - Tomoyasu Hotei
"Palpatine's Teachings" - John Williams
"Gatsby Believed In the Green Light' - Craig Armstrong
"Prophesy" - Bobby Krlic
"Main Title (Terminator 2 Theme)" - Brad Fiedel
"Staring Into The Abyss" - 2050
"Last But Not Least (Instrumental)" - Chelsea McGough
"Odd Numbers" - Curtis Cole
"The Council of Elrond (feat. Aniron) (Theme for Aragorn and Arwen)" - Howard Shore
"War Banner (Instrumental)" - Cody Martin
"Assembly Line Dreams" - Ostin Drais
"Brooks Was Here" - Thomas Newman
"State Lines (Instrumental Version)" - Aaron Kellim
"Heroes" - David Bowie

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

─────────────────────

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Create a robust shooting schedule for your film production with StudioBinder.

We provide customizable solutions for photo and video production companies to better manage their productions, all in one place. https://www.studiobinder.com

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Star Wars Behind the Scenes of A New Hope — a look back at how George Lucas and ILM pushed special effects, visual effects, and sound design to create a blockbuster from a galaxy far, far away.

The Making of Star Wars ►► https://bit.ly/hs-sw
StudioBinder Blog ►► http://bit.ly/sb-bl

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Chapters:
00:00 - Intro — Star Wars Behind the Scenes
00:54 - Effective Budgeting
01:32 - Chapter 1: Practical Effects
04:05 - Chapter 2: Compositing Effects
08:36 - Chapter 3: Sound Design
11:26 - Takeaways

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Edited by MIKE STEELE

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Special thanks to:
Eyes On Cinema ►► https://bit.ly/sd-sw
Roadtrip Nation ►► https://bit.ly/bb-sw, https://bit.ly/fe-sw

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STAR WARS BEHIND THE SCENES — THE MAKING OF A NEW HOPE

The making of Star Wars A New Hope is stuff of legend. Today, blockbuster movies are a dime-a-dozen and the magic of how they’re actually created has all but disappeared. But in 1977, George Lucas and his team at ILM were still magicians, crafting never-before-seen imagery that changed the industry forever. In this short making of Star Wars documentary, we’ll explain how they evolved practical effects, compositing techniques, and sound design.

STAR WARS MOVIES SPECIAL EFFECTS

Compared to the scope and vision of George Lucas’ galaxy far, far away, Star Wars was a low-budget production. One of the ways they were able to pull this off was to use practical effects. This ranged from making Luke’s landspeeder to be a functional vehicle but appeared to float above the ground, to the extensive use of matte paintings that could extend the sets and add extras.

STAR WARS VISUAL EFFECTS

What the crew couldn’t accomplish on set, the visual effects team handled. For example, some of the most dazzling sequences in the film are the space battles. But up until that time, the compositing techniques for photographing a ship in space was very limited. To capture the WWII dogfight footage Lucas shared as inspiration, the ships needed to have more dynamic mobility. The solution was something called the Dykstraflex, a motion-control camera that could be programmed precisely to execute the same movements multiple times. This allowed them to capture as many elements as they needed while giving the ships the desired movement and energy in the frame.

STAR WARS SFX

The final element in creating a fantastical yet believable world was the sound design. To be fair, the concept of a sound designer didn’t even exist yet. Ben Burtt, responsible for the sound effects coined the term for himself, essentially creating a new filmmaking role in the process. Here, too, revolutionary changes were being made to create the most iconic sounds like R2-D2’s bleeps and bloops, Darth Vader’s ominous breathing, and, of course, the hum of the lightsabers. To do this, Burtt mixed the sounds of a humming projector with a TV set — the swinging sabers were created by playing this sound through a speaker and waving a microphone in front of it.

Without all these innovations, there’s a good chance Star Wars would’ve simply gone unnoticed. Instead, it raised the bar for filmmaking in Hollywood with low-budget techniques to create an unforgettable cultural experience.


#FilmTheory #VideoEssay #Filmmaking

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♬ SONGS USED:

"Main Title" - John Williams
"Dojo Tradition" - In This World
"Princess Leia's Theme" - John Williams
"Imperial Attack" - John Williams
"Ben's Death and TIE Fighter Attack" - John Williams
"Cantina Band" - John Williams
"The Last Battle - John Williams
"Rescue of the Princess" - John Williams
"The Princess Appears" - John Williams
"Glass" - Claudio Laucci
"The Blue Danube (Excerpt) (2001 A Space Odyssey Soundtrack)" - Johann Strauss II
"1986" - Angel Salazar
"Mouse Robot and Blasting Off" - John Williams
"Assembly Line Dreams" - Ostin Drais
"The Little People Work" - John Williams
"The Walls Converge" - John Williams
"The Throne Room and End Title" - John Williams

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

─────────────────────

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Watch the Script Breakdown Tutorial Series ►► http://bit.ly/script-breakdown

StudioBinder provides tools for every phase of film, TV, photo, and video production in a central cloud-based platform. From development through production, create, track, and securely share scripts, storyboards, shooting schedules, call sheets, and more. Collaborate on, and seamlessly move through, your creative workflow. All in one place.

In this tutorial series, we give you a professional grasp of how to break down a screenplay for production. Find out the most efficient way to identify, categorize, and tag script elements. Don't go into production without an ironclad script breakdown — you need to break it down to accurately understand budget and shoot requirements. This series provides everything you need to know about breakdowns.

In this episode, we're showing you how to tag elements in your screenplay and how to speed up the process.


–

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The 180 Degree Rule in Film ►► http://bit.ly/180-Degree-Rule-in-Film

The 180 degree line is a rule used in filmmaking that helps you maintain a constant orientation during your scenes. That said, there are ways you can break the 180 degree rule, and ways that you can bend the 180 degree rule.

Our video breaks down how to follow the 180 degree rule, how to break the 180 degree rule, and bend the 180 degree rule to achieve maximum effectiveness from your scene.

Breaking the 180 degree rule can also be called crossing the line or jumping the line. The line you draw connects two actors in a scene, and once you’ve established your camera placement on one side of the line, you have now decided which 180 degrees you will have to place your subsequent camera setups.

You do this so that your viewer can keep their orientation, and avoid spatial confusion.

But what if you break the line?

We show specific examples of directors and films that follow the 180 degree rule, break the 180 degree rule, and bend the 180 degree rule so that you understand perfectly the different effects each has on a viewer.

When you finish this video, you will understand why you need to follow the 180 degree rule in most situations, and know exactly when you should break it or bend it.

The end result: You will understand the 180 degree rule better than you did before - and how to command your visuals.

#180degreefilmrule #jumpingtheline #180degreefilmrule

--

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Terminator 2 Behind the Scenes — A look behind the scenes of James Cameron’s Terminator 2, including how the team utilized cinematic techniques, practical effects, and CGI to create the action film of the century.

The Making of Terminator 2 ►► https://bit.ly/hs-tt
StudioBinder Blog ►► http://bit.ly/sb-bl

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Chapters:
00:00 - Intro — Terminator 2 Behind the Scenes
02:10 - Chapter 1: Lighting and Cinematography
07:34 - Chapter 2: Practical Effects
15:42 - Chapter 3: CGI with ILM
18:05 - Takeaways

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Special thanks to:
Wired ►► https://bit.ly/wi-nb
Urban Shark Productions ►► https://bit.ly/cd-up

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TERMINATOR 2 BEHIND THE SCENES

The making of Terminator 2 is just as fascinating as the film itself. Co-writer/director James Cameron and his crew used every tool available to create the ultimate cinematic experience. In this video, we go behind the scenes of Terminator 2 to uncover the secrets of its creation. We’ll cover topics like how lighting and cinematography, practical effects, and cutting-edge CGI combined to realize Cameron’s greatest action spectacle.

THE MAKING OF TERMINATOR 2 — CINEMATOGRAPHY

Returning from the original, DP Adam Greenberg carried over many aesthetic choices but on an entirely new scale. This includes lighting the terminators in a cold blue light to enhance their brutality and top lighting on Arnold Schwarzenegger to accent his facial musculature. For the iconic highway chase, Greenberg took two weeks to pre-light a 5-mile stretch of freeway, borrowing every available power cord in Hollywood to connect all the lights.

TERMINATOR 2 SPECIAL EFFECTS

Throughout his career, James Cameron has been on the cutting edge of both practical and visual effects. The way he uses models, miniatures, rear projection, and just about every in-camera effect known to man is a testament to his filmmaking prowess. Examples include the animatronics of the T-800 or the nightmarish nuclear blast sequence. And then there are more simple yet effective decisions like hiring twins to play characters replicated by the T-1000. All of this is in service of the story and the experience.

TERMINATOR 2 VISUAL EFFECTS

Of course, not everything could be achieved in-camera. The Terminator 2 visual effects team pushed the craft beyond what anyone had seen before. In his previous film, The Abyss, Cameron tasked the team at ILM to create “the pseudopod” — a tentacle made of water. This was merely a test run for something Cameron had dreamed of since the first Terminator film: a liquid metal terminator. Now, the T-1000 could change shape, walk through bars, and assume the identity of anyone. No one had seen anything like this, which paved the way for future CGI work in films like Jurassic Park.

Filmmakers today might not fully understand why the making of Terminator 2 was such an achievement. But it’s our hope that by looking back on the work of craftsmen and craftswomen like James Cameron that we realize just how far we come and how much we owe to them.


#FilmTheory #VideoEssay #Filmmaking

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♬ SONGS USED:

“Bad To The Bone - George Thorogood & The Destroyers
“Main Title Terminator 2 Theme” - Brad Fiedel
“Quantum IV - Makeup and Vanity Set
“Into The Steel Mill” - Brad Fiedel
“Sarah On The Run” - Brad Fiedel
“Attack On Dyson” - Brad Fiedel
“Trust Me” - Brad Fiedel
“Our Gang Goes To Cyberdyne” - Brad Fiedel
“Escape From The Hospital” - Brad Fiedel
“T1000 Terminated” - Brad Fiedel
“Swat Team Attacks” - Brad Fiedel
“Cameron’s Inferno” - Brad Fiedel
“Hasta La Vista Baby” - Brad Fiedel
“Sarah Dream” - Brad Fiedel
“I’ll Be Back” - Brad Fiedel
“Reese Chased” - Brad Fiedel
“Police Station/Escape From Police Station ” - Brad Fiedel
“Future Flashback/Terminator Infiltration” - Brad Fiedel
“The Terminator Theme (Extended Version)” - Brad Fiedel
“It’s Over” - Brad Fiedel

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

─────────────────────

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The Dolly Zoom Effect Explained — a guide to cinema’s most unique and mind-bending camera movement, including how to enhance the Vertigo effect with lighting, camera angle, and sound design.

The Ultimate Guide to the Dolly Zoom ►► https://bit.ly/ug-dz
The Ultimate Guide to Depth of Field ►► https://bit.ly/ug-df
The Ultimate Guide to Shot Sizes ►► https://bit.ly/ug-ss
What is Aperture? ►► https://bit.ly/wi-at
StudioBinder Blog ►► http://bit.ly/sb-bl

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Special thanks to:
UglyMcGregor ►► https://bit.ly/um-dz

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Chapters:
00:00 - Introduction to Dolly Zoom Shots in Film
00:57 - What is a Dolly Zoom?
04:09 - Speed and Focal Length
06:59 - Background Considerations
08:35 - Creative Examples
10:58 - Dolly Zoom in Guardians of the Galaxy Vol. 2
11:47 - Dolly Zoom in Raging Bull
13:17 - Takeaways

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THE DOLLY ZOOM EFFECT EXPLAINED

You know that moment in Jaws when Chief Brody sees the shark attack happening — the background stretches behind him as if reality itself is breaking apart. This intense and mind-bending shot is called a dolly zoom and it has been used for decades to capture moments like this. But how does the dolly zoom effect work and how many ways can it be used? In the video, we’ll explain the mechanics of the shot, the applications for it, and how to enhance it with lighting, camera angle, and sound design.

WHAT IS THE DOLLY ZOOM EFFECT

As Alfred Hitchcock explains, the idea for the dolly zoom goes back to one night when he was drunk. He described the sensation as “everything going far away from me” and an idea was born to recreate that experience in a film. The goal was to keep the subject fixed in the frame while the background stretched behind them. Hitchcock first wanted to use the shot in Rebecca when Joan Fontaine’s character faints but he couldn’t figure out how to do it. Nearly two decades later, when Hitchcock was making his classic Vertigo. It was a cameraman on the film named Irmin Roberts who found the solution — to zoom out while the dolly pushed in.

WHEN TO USE THE DOLLY ZOOM EFFECT

The dolly zoom effect can really amp up a moment like in Jaws, or it can work more subtly in the background to slowly crank up the tension. It is perfect for any sort of sudden or dramatic emotional or tonal shift — for positive and negative emotions alike. The dolly zoom effect is great for moments of fear, disorientation, infatuation, panic, revelation, etc. It can be the ideal way to accent and emphasize any important character moment.

HOW TO ENHANCE THE VERTIGO EFFECT

The textbook dolly zoom maneuver is visually compelling on its own but there are also a number of ways to enhance the Vertigo effect. For example, changing the lighting during the shot — like in The Lion King when Simba panics before the oncoming stampede. Sound design is also often paired with the camera movement as additional sensory input. For example, in Guardians of the Galaxy Vol. 2, when Peter is told how his mother really died, the soundtrack introduces a descending bass note, while high strings rise in the mix. The two complementary sounds nicely parallel the complementary movements of the lens and the camera.

The dolly zoom effect is relatively simple and it certainly looks cool. But the filmmakers that have been most successful using the Vertigo effect only when necessary to enhance a particular moment in a way that is beyond our normal visual experience.


#FilmTheory #VideoEssay #Filmmaking

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♬ SONGS USED:

“Dark Night” - The Blasters
“Major Tom (Coming Home)” - Peter Schilling
“The Wanderer” - Makeup and Vanity Set
“Quantum IV” - Makeup and Vanity Set
“Tannhäuser Gate” - Makeup and Vanity Set
“Funeral March of a Marionette” - Charles Gounod and Lyn Murray
“Prelude and Rooftop” - Bernard Herrmann
“Stuck Behind a Train” - Makeup and Vanity Set
“Layla” - Derek and the Dominos
“Dinner Rush” - Michael Giacchino
“Le Vent Tourne” - Sens Unik
“Girl You’ll Be a Woman Soon” - Urge Overkill
“Eyes Without A Face” - Billy Idol
“Main Titles” - Theodore Shapiro
“The Descent” - David Julyan
“Meet Maguire” - Thomas Newman
“Needles and Dalgona” - PARK MIN JU
“Kid Vs. Herod” - Alan Silvestri
“Tina” - Randy Eelman
“Showtime, A Holes” - Tyler Bates
“Cavalleria Rusticana Intermezzo” - William Bowles
“Centaur Skin” - Tobacco
“Star Trek: The Next Generation Theme” - Jerry Goldsmith

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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

─────────────────────

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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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—

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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

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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