BLACK MEN BEWARE OF THE NOT SO NEW WHITE PEOPLE

THE MODERN MAN IS THE SIGMA MALE

Modern Men are too nice. You’re too sensitive. You have to learn to harden your hearts. Modern Men Have a decision to make. Do you want to be liked or do you want to be respected.? Tolerating a woman disrespecting you is consent. Why? because as a man you have the ability to protect yourself by walking away and you choose not to.

MODERN MEN WAITING LATER IN LIFE FOR SERIOUS RELATIONSHIPS

SINGLE BLACK WOMEN HAVE 1 million biracial babies SIRED BY CHAD, BRAD AND JOSE

WHEN YOUR MOUTH WRITES A CHECK YO' A$$ CAN'T CASH

MODERN MEN AND THE NEW CULTURE

DO BLACK MAN DESERVE FIT FEMININE BEAUTIFUL WOMEN?

SINCE KEVIN SAMUELS' PASSING HIS FANS HAVE FILLED MY INBOX WITH AN OUT POURING OF LOVE AND ADMIRATION FOR MY FALLEN FRIEND. AS PART OF THE GREIVING PROCESS I INVITE HIS FANS TO COME AND GIVE THEIR PERSONAL TESTIMONY AS TO HOW KEVIN'S WORK HAS ENHANCED THEIR LIVES. INSTEAD OF DWELLING ON OUR LOSS, LET'S REJOICE IN HIS ACCOMPLISHMENTS.

Special guest @BGSIBMOR @TheRealMTR @OshayDukeJackson @TheLeadAttorney Mumia Obsidian Ali

⌚ Time Stamps ⌚

0:00 Tribute To Kevin
6:45 Start Of Memorial
7:35 BGS
18:18 Joe Brown's Wise Words
20:40 Oshay Duke Jackson
28:33 MTR
36:15 The Lead Attorney
45:08 The Future Of Manosphere
58:24 Jeff Liscum, Kevin's Best Friend
1:10:45 Kevin Samuel's Mother
1:18:12 Quick Break
1:22:38 Fan Testimonials
1:42:28 End Of Memorial

MODERN MEN DUCKING AND DODGING MODERN WOMEN’S FAKE FEMININITY.

MODERN MEN MOVING FAR AWAY FROM THE MATRIX

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

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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

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♬ 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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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

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♬ 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

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

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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

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♬ 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

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

─────────────────────

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

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

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Special thanks to:
Insider ►► https://bit.ly/al-lf
Lake Forest ►► https://bit.ly/yt-dv

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

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JOHN WICK 4 BEHIND THE SCENES

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

JOHN WICK 4 CINEMATOGRAPHY

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

JOHN WICK 4 VFX

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

JOHN WICK 4 STUNTS

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


#FilmTheory #VideoEssay #Filmmaking

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♬ SONGS USED:

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

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

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

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

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

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

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

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

#FilmTheory #VideoEssay #Filmmaking

—

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—

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! —

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

A BUNCH OF HORNY DEGENERATES, BRINGING CLASSY BACK