WHY ARE YOUNGER BLACK MEN REFUSING TO DATE BLACK WOMEN?

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

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

WHO?

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

WHAT?

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

WHERE?

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

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

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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.

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

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CINEMATOGRAPHY OF THE LAST OF US

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

THE LAST OF US CINEMATOGRAPHY — CAMERAS AND LENSES

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

THE LAST OF US CINEMATOGRAPHY — LIGHTING

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

THE LAST OF US CINEMATOGRAPHY — CAMERAWORK

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


#FilmTheory #VideoEssay #Filmmaking

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♬ SONGS USED:

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

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Film lighting techniques can be simple, especially with a simple three-point lighting setup. But that doesn’t mean that you still can’t achieve that cinematic look. Cinematic lighting can be achieved with the 3 main light sources — the key light, the fill light, and the backlight. This combination is used in a large majority of film lighting setups and each light fulfills a function. What we want to explore in this video is just how important the fill light is to the overall look and feel of a shot. Of all three lights, the fill light just might the most important.

Contrast ratio is the relationship between the key light and fill light — in short, more fill light yields a low contrast lighting, while less fill light will achieve more high contrast lighting. Contrast ratio is all about determining the mood of a scene and that’s where the fill light’s purpose becomes so important. So many film lighting techniques revolve around adjusting contrast ratio through raising or lowering the level of the fill light.

Another aspect of film lighting techniques is the placement of each of these lights. In many cases, the key light is placed on the “smart side” of the subject — that is to say on the opposite side of the camera — and the fill light is often pointed at the subject from the same side as the camera (i.e., the “dumb side”). This is not a hard and fast rule in cinematic lighting but it does wonders for creating a layer of depth in the image. For many reasons, you can switch it up (e.g., dumb side key and smart side fill). It just depends on the scene and how you want to capture the moment.

#cinematography #filmmaking #lighting

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We kicked off Black History Month and our 20th Anniversary, with Cultural Historian, Anthony Browder, who joined us to discuss cultural takeaways from Black Panther and to share his personal story of

12:17 Cultural Historian Anthony (Tony) Browder aka Nana Segu Karakh's influences as a child.

16:30 How the African Ancestry test helped Nana Karakh discover his paternal ancestry, without ever having met his biological father.

18:28 Nana Karakh's role as a "Memory Recovery Specialist' and his research in KMT (Ancient Egypt).

22:07 The interesting fact about Nana Karakh and his daughter Atlantis' recent enstoolment as Chiefs in a Ghanian village.

23:53 How Nana Karakh uses graphic design and advertising training to deconstruct history including the Black Panther: Wakanda Forever and why he initially didn't like the film.

33:44 Why Nana Karakh created The (John Henrik) Clarke Enhanced History Project in response to the shortcomings of The National Museum of African American History and Culture.

37:53 Nana Karakh's response to the notion that we are not African and were here before the Native American.

47:33 Fact or Wack - Chadwick Boseman is an Angel Investor to African Ancestry?

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African Ancestry Celebrates 19 Years!
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Son of Black Panthers Finds His African Ancestry
https://youtu.be/zIN24c1BSkc
-----------------------------
The African Ancestry Experience
Hosted by Dr. Gina Paige, African Ancestry Experience airs weekly on Facebook and YouTube and gathers notable people across the African Diaspora to discuss what it means to transform the way Black people view themselves and Africa.

Producer: Wendi Cherry for African Ancestry

#africanancestry #africa #genetics #dna

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This week on The Tight Rope, the professors are joined by Dr. Gina Paige, co-founder of African Ancestry. African Ancestry is the world leader in tracing lineages of African descent with a database of over 30,000 indigenous African DNA samples. Join us for a rich discussion on why Black people are the original victims of identity theft and how African Ancestry is working to rectify this.

In 2003, Dr. Gina Paige co-founded African Ancestry, Inc. (AfricanAncestry.com) and in doing so, pioneered a new way of tracing African lineages using genetics, and a new marketplace for people of African descent looking to more accurately and reliably trace their roots. Paige travels the world helping people demystify their roots and inform on identities so that they may better understand who they are by knowing where they’re from.

Paige resides in Washington, D.C. and holds a degree in Economics from Stanford University and an MBA from the University of Michigan Ross School of Business. Paige was honored with an Honorary Doctor of Philosophy from Global Oved Dei Seminary University.


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Credits:
Creator/EP: Jeremy Berry
EP/Host: Cornel West
EP/Host: Tricia Rose
Producers: Allie Hembrough, Ceyanna Dent, Dustin Hodge
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Three Black Americans find out which tribe and people group they share genetic fingerprints with in Africa!

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MUSIC

Licensed via Audio Network

STILLS
Vintage national flag of Russia background
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Dark wood texture background
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Black texture background
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Yellow paper background, colorful paper texture
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Genuine leather texture background
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Orange fabric texture for background
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Africa watercolor map in front of a white background
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Colorful conga drum for party at camp
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kansas,missouri,usa. 09-15-17, beautiful kansas city skyline at night.
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Maracas Beach Trinidad , Blue Caribbean Ocean Waves and Shoreline visible along with palm trees and mountains
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clear wet sands beach texture background
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waving flag
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Blue background with ornaments
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VIDEO
Typical colonial street of Trinidad, Cuba
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Entering Mississippi
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The street in Trinidad, Cuba
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Top View of a Beach
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This bridge spans the Mississippi River from Memphis, Tennessee to West Memphis, Arkansas
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Rainbow DNA
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Close-up christmas garland and handmade balls on a playd with golden lights. Christmas concept. Home decor
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Beale Street Drone Footage
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Flag of Arkansas Waving in the Wind
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on the upper side of corrupt urbanization castle, kadifekale, izmir
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EXTERNAL CREDITS
African Ancestry
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African Ancestry Results || Where am I from? || Who am I? || Where in Africa am I from?

The Balanta (Guinea-Bissau Creole and Portuguese: balanta; French: balante; lit. “those who resist” in Mandinka) are an ethnic group found in Guinea-Bissau, Guinea, Senegal and The Gambia. They are the largest ethnic group of Guinea-Bissau, representing more than one-quarter of the population. Despite their numbers, they have remained outside the colonial and postcolonial state because of their social organisation. The Balanta can be divided into 7 clans: Nhacra, Ganja, Naga, Mane, Patch, Sofa and Kentohe. The largest of which are the Balanta Kentohe.

Archaeologists believe that the people who became the Balanta migrated to present-day Guinea-Bissau in small groups between the 10th and 14th centuries CE. Oral tradition amongst the Balanta has it that they migrated westward from the area that is now Egypt, Sudan and Ethiopia to escape drought and wars. During the 19th century, they spread throughout the area that is now Guinea-Bissau and southern Senegal in order to resist the expansion of the Kaabu kingdom. Today, the Balanta are found in the modern-day countries of Senegal and Gambia but mostly reside in the southern and central regions of Guinea-Bissau.

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Exploring Asian Ancient Migrations: The Connection Between Black Africans And Early Chinese Settlers

Let's come together in reasonable dialogue to honor our ancestors and reclaim the world through an African lens. Join me as we delve into African history, culture, and worldview to better understand their relevance to our lives today. By sharing our thoughts and knowledge, we can pave the way for a new culture of awareness and reclaim our story. As the African Diaspora saying goes, "I am because we are, and we are because I am."
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Source:
1. https://www.ncbi.nlm.nih.gov/p....mc/articles/PMC33897
2. https://www.latimes.com/archiv....es/la-xpm-1998-sep-2
3. https://www.jstor.org/stable/41466410
5. https://www.downtoearth.org.in..../news/confused-roots
6. https://www.nature.com/articles/jhg200456
7. https://www.nature.com/articles/d41586-018-05696-8
8. https://www.journals.uchicago.....edu/doi/full/10.1086
9. https://www.nytimes.com/2018/0....7/11/science/hominin
10. https://www.thearchaeologist.o....rg/blog/chinas-myste
11. https://www.economist.com/scie....nce-and-technology/1
12. https://pacotaylor.medium.com/....ancient-chinese-secr

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#blackhistory #africanhistory #slavery

It is with great satisfaction that I am premiering this short "sizzle" film, sharing an event that was traumatic in my life, changing me forever. I am an Ancestral hair braider, and braiding has always been my first love. I had been following my bliss, braiding, for some 20 years when this event occurred in 1997 that would set me on on a legal battle with the State of Texas that lasted another 20 years! 20 years of my life then was in limbo, as I never knew the outcome or when my world would come tumbling down upon me and my five children. With the help of my Ancestors I persevered, ultimately winning a my suit in Federal court that caused the cosmetology law to be changed in 2015. This WIN not only freed me, but freed ALL braiders and natural hair practitioners from fear of cops knocking down their doors and arresting them as I had been. They were and now are free to be entrepreneurs doing what our Ancestors have done for millennia! Please help us spread this story, as my goal is to secure production backing to bring the full story of my life to a feature film. Peace and Blessings to All.

In depth interview by Isis