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

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

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

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

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

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

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

#FilmTheory #VideoEssay #Filmmaking

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

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

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

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

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

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

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

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

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

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

#FilmTheory #VideoEssay #Filmmaking

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

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

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

─────────────────────

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

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

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CANDLELIGHT CINEMATOGRAPHY

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

HOW TO LIGHT A SCENE WITH CANDLELIGHT

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

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

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

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

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

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


#FilmTheory #VideoEssay #Filmmaking

─────────────────────

♬ SONGS USED:

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

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

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

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

─────────────────────

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

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Film Composition Explained

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

What is Composition?

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

Elements of Composition

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

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

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

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


#FilmTheory #VideoEssay #Filmmaking

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♬ SONGS USED:

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

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

─────────────────────

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

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

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

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

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

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

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

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

#blockingmovie #stagingscenes #directingmovies


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

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

─────────────────────

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

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VIRTUAL PRODUCTION EXPLAINED

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

WHAT IS VIRTUAL PRODUCTION

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

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

HOW VIRTUAL PRODUCTION WORKS

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

THE PROS AND CONS OF VIRTUAL PRODUCTION

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

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

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


#FilmTheory #VideoEssay #Filmmaking

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♬ SONGS USED:

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

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

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

─────────────────────

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

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WHAT ARE MOVIE GENRES

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

WHERE DO MOVIE GENRES COME FROM

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

FILM GENRES AND HOLLYWOOD

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

FILM GENRES AND THEIR CONVENTIONS

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

SUBVERTING FILM GENRES

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

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


#FilmTheory #VideoEssay #Filmmaking

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♬ SONGS USED:

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

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

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

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

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

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

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

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

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

So start watching and learn more about film blocking today!

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The films in our video:

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

The music::

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

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Try StudioBinder’s Shooting Schedule Software for FREE ►► http://bit.ly/2VH9u8U

You can now plan your productions even better with StudioBinder's shooting schedule software. Production plans can change a dozen times a day. With StudioBinder's intuitive stripboard interface you can adapt to changes on the fly.

Have you already written your screenplay? You can easily import your script (Final Draft, PDF or Fountain file) directly into StudioBinder and generate your shooting schedule.

Specify each scene’s cast, shoot locations, and estimated prep and shoot times. Drag and drop scene strips to reorder. Building a shooting schedule doesn't have to eat up time.

Once it's been imported, start rearranging your schedule to match your production requirements. Add day breaks to generate shooting days based on the page count or estimated shoot time. Afterward, you can generate a shooting schedule report and share it with your department heads to keep everyone in the know.

StudioBinder generates the Shooting Schedule, One Liner, DOOD Report, and other scheduling reports automatically. Just share a link.

Since your shooting schedules and reports live in the cloud, your team will always view the latest and most accurate version. Want to print or save as PDF? You can do that, too.

Spin-off your call sheets with the tap of a button, and get your production to the next level.
Try out StudioBinder’s shooting schedule software and turn your ideas into reality.

#filmmaking #shootingschedule #productionschedule #filmscheduling

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How to Write Movie Fight Scenes Like John Wick ►► http://bit.ly/johnwickscene

Understanding how to write a fight scene in a movie can make or break your action movie or even your screenwriting career. You’ve seen how good Keanu Reeves looks during John Wick fight scenes, but it raises some questions about writing fight scenes in general.

Screenwriting fight scenes like John Wick scripts takes a certain approach, and this video essay will show you how to write the best fight scenes so that a director like Chad Stahelski can build an action movie that allows you to watch Keanu Reeves fight stunt man after stunt man to create some of the best movie fight scenes.

Don’t write another fight scene in your movie until you’ve seen our take on the best John Wick movie fight scenes out there. We’ll go over what to avoid when learning how to write fight scenes, how screenwriting format can help, and we give you fight scene examples.

Finally, you will know how producers and directors want a screenwriter to write a fight scene, and you’ll see how John Wick fight scenes were written so that you can take away lessons from one of the best Keanu Reeves action movies out there.

The end result: You will know how to write a fight scene like John Wick, how Chad Stahelski took the fight scene on the page and build a John Wick fight scene with stuntmen, Keanu Reeves, and some serious fight choreography.

#johnwick #filmmaking #screenwriting

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300 First Battle Scene Breakdown — A look behind the scenes of the “Crazy Horse” shot and the ingenious way Zack Snyder and his team shot the Hot Gates Battle.

Zack Snyder Films Ranked ►► https://bit.ly/zs-fr
StudioBinder Blog ►► http://bit.ly/sb-bl

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Chapters:
00:00 - Intro — 300 First Battle Scene Breakdown
01:22 - What is the "Crazy Horse" Rig?
02:04 - Adapting for Perfection
04:42 - Lens Size
07:47 - Shot Sizes
10:37 - Morph Zooms

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300 First Battle Scene Breakdown

It’s highly likely that when you saw 300’s first battle (aka the Hot Gates Battle), a single question came to mind. How did they shoot that? From the speed ramps to the morph zooms, there is a lot going on in this single-take fight scene, nicknamed the “Crazy Horse Shot.” In this 300 behind-the-scenes video, we’ll explain everything, including the ingenious idea Zack Snyder had to pull it off.

Zack Snyder’s 300 is full of amazing shots, it is a feast of eye candy. And a lot can be analyzed and appreciated about the use of slow motion, the surreal comic book look, or the special effects that brought it all together. But during the 300 first battle, there is a moment that stands above the rest. The idea was to shoot a single-take fight but also include speed ramps and zooms in and out of the action. Trying to execute this ambitious shot in a “oner” would be extremely difficult, especially the timing and precision.

So, why is it called the “Crazy Horse Shot”? Zack Snyder thought he might be able to use a camera rig that was also used in a TV movie called Crazy Horse. That rig consisted of two cameras (one shooting B&W, the other shooting color) that could capture the same exact image at the same time. This was done with a beam splitter, a prism that split light into two directions.

But instead of two cameras, Snyder wanted three — each fitted with a different focal length lens. This way, they could capture three different shot sizes (wide, full, medium) at the same time. Then in post-production, they could time exactly when to zoom in and out between those shots. This technique is called a morph zoom (or nested zoom) because the transition between the shots had to be manufactured in editing.

However, after they shot this iconic 300 fight battle scene, there was an issue with the focus and it had to be re-done. The revised plan simply had 3 cameras positioned as closely together as possible instead of requiring a beam splitter. And thus, the Hot Gates Battle was complete and it easily became one of the most stunning shots in the movie and in recent years. The 300 first battle scene is the perfect example of when a creative vision requires technical innovation. Zack Snyder and his team gave us a fresh and thrilling way to shoot action, all without traditional editing.


#FilmTheory #VideoEssay #Filmmaking

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♬ SONGS USED:

"Fever Dream" - Tyler Bates
"The Hot Gates" - Tyler Bates
"Xerxes' Tent" - Tyler Bates
"The Wolf" - Tyler Bates
"Immortals Battle" - Tyler Bates

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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Production Design in The Boys ►► http://bit.ly/2lLKfBP

Today’s video is a filmmaking video essay on Amazon Prime video’s new show, The Boys. Our film theory and scene analysis on the scene elements and production design used in The Boys. This can include set dressing, movie props, and costumes.

Have you watched The Boys on Amazon prime video? We have, and we were excited when we heard that Seth Rogen and Evan Goldberg were producers on the show. We were also excited to hear about The Boys cast which includes Jack Quaid.

Many had never even heard of The Boys comic, so when the first season of The Boys show came out, it was a total blindside. We found something else about the show that is really great — mise en scene. Mise en scene includes many things like scene elements and production design, and we found that The Boys did a great job at building a world.

The Boys had to choose production design and scene elements that were both satirical but also logical, and they needed to build a world that seemed legitimate. This includes the costumes, the movie props, the set dressing — all of the scene elements and mise en scene had to help show the difference in characters, in their circumstances, etc.

Out video teaches you about mise en scene, production design, and scene elements through our video essay on The Boys on Amazon prime video. Make sure to check it out so you can level up your own filmmaking skills with our scene analysis. It will be fun to see if they continue the excellence in The Boys season 2.

#miseenscene #theboysamazon #videoessay


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Try StudioBinder’s Storyboard Software for FREE ►► http://bit.ly/2VH9x4A

Introducing StudioBinder’s storyboard feature. StudioBinder knows that to bring you a truly A-to-Z production planning experience, you need to have the best storyboard software that helps you visualize your story with perfect detail and clarity.

Your storyboards are a great tool for collaborating on a vision, and we couldn’t agree more. That’s why we built the most collaborative storyboarding software available. Leave helpful comments, work on boards together, and access your storyboards from any device.

Build professional storyboards in minutes. Set your preferred specifications and layouts to and add reference images, sketches, or any other form of story visualization.

StudioBinder’s storyboarding software allows you to set the aspect ratio, add shot descriptions, camera setups, estimated times, frame counts and more.

Our cloud-based storyboarding software allows you to send share links to clients so that they can access boards at your discretion. No more mixed messages.

StudioBinder’s storyboard software also has a presentation mode which allows you to see how your visual plan will play out, allowing you to perfect your project beforehand.
Try out StudioBinder’s cloud-based storyboard software and turn your ideas into reality.

#filmmaking #storyboard #storyboardsoftware #storyboardcreator #storyboardapp

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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 and see the difference: https://studiobinder.com/pricing

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More Video Lighting Techniques ►► http://bit.ly/334Jq8v
More Cinematography Techniques, including a FREE Cinematography Checklist ►► http://bit.ly/3cxqK5z

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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More Over The Shoulder Shot Examples in Film ►► http://bit.ly/2GPWIgx

In today’s video, we’re going to take a look one of the most commonly used shots in film and television: The over-the-shoulder shot.

The over-the-shoulder shot (OTS) seems simple enough, seeing as the definition is in the name, but it is often used without the proper cinematic motivation.

It is true that you gain a sense of orientation by having a character’s shoulder in the frame, but there is also a significant psychological effect, and therefore significant emotions generated when you use an over-the-shoulder shot in film or television.

It might seem a bit trivial, but all of these little decisions add up to an effective, or ineffective storytelling experience. Oh, and you don’t have to exclusively use over-the-shoulder shots for dialogue scenes either.

Our video shows you:

Examples of over-the-shoulder shots.

Why you use an OTS shot in your story.

AND

How to go about surrounding your OTS shots.

When you finish this video, you will have a complete understanding of when, where, how, and why you use an OTS shot, and you’ll be able to use them to their maximum effect.

The end result: You will be able to signal to your viewer how they should feel about a relationship within your story.

#overthershouldershotexample #OTSexample #dirtysingleshot

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Best Dinner Scenes in Movies and Why They Work ►► https://bit.ly/din-scenes

Chapters:
00:00 Can Dinner Scenes Be Cinematic?
01:14 The Table — Set Design & Mise en Scéne
01:51 What's On the Table (Goodfellas Dinner Scene)
02:14 What's in the Room (Django Unchained & Manchester by the Sea)
02:40 The Blocking — Seating Arrangements
02:48 Distance & Opposition (Citizen Kane Dinner Scene)
03:19 Alliance (Django Unchained Dinner)
03:32 Who's in Control (Inglourious Basterds Dinner Scene)
03:53 The Camera — Emphasizing Power Dynamics
04:11 Singles vs Group Shots (Goodfellas & Manchester)
04:58 Lens Choice — Grow or Shrink Distance
05:24 The Key to a Dinner Scene: What's Shared and What's Not
06:16 Learn More about Table Scenes

The dinner scene — sometimes considered the least cinematic and yet most common scene in many movies. Two characters sitting, eating, and talking can be found everywhere in cinema. From every decade and every genre, the eating scene is almost always about something other than the food. We’ve seen these scenes countless times but only a few are memorable. So, how do the best dinner scenes in movies give these obligatory moments life and personality?

In this video essay, our focus is how directors can use production design and set design, blocking and staging, and cinematography to craft cinematic dinner scenes. Consider the Hereditary dinner scene and how the blocking and framing of the characters purposefully enhance the drama.

What are we to make of the dinner scenes from Goodfellas and Jojo Rabbit, where the abundance or lack of food on the table gives us character and story information. How about the infamous breakfast montage from Citizen Kane where the camera pulls back to reveal the literal and figurative distance between Kane and his wife?

We can find one of the most awkward dinner scenes in Manchester by the Sea. As Patrick dines with his estranged mother and her new husband, the disconnect between them is all captured in the framing. As you start storyboarding your next dinner scene, remember to keep these considerations in mind — who is where, what is there, and what’s being shared. Because the best dinner scenes are rarely, if ever, about dinner.

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

Shot Sizes Cheatsheet ►► https://bit.ly/2WkX2tf
More on Shot Sizes ►► https://bit.ly/camera-shot-sizes
Ultimate Guide to Camera Shots, Angles and Movements ►► https://bit.ly/ultimate-shots-post

Establishing Shots ►► https://bit.ly/establishing-shots-post
Wide Shots ►► https://bit.ly/wide-shot-post
Medium Wide Shots ►►https://bit.ly/cowboy-shot-post
Medium Shots ►► https://bit.ly/medium-shot-post
Medium Close Ups ►► https://bit.ly/mcu-post
Close Ups ►► https://bit.ly/cu-post
Extreme Close Ups ►► https://bit.ly/ecu-examples-post

Camera shots and camera angles — every shot, in a scene, in a sequence, and in a movie, needs to be decided on with purpose. Choosing between a close-up or a medium shot can mean a huge difference in how the moment is perceived and felt by the audience. There is psychology at play in film language and film theory, and it is up to the director when making a shot list to speak that language fluently.

In this video essay, we’ll cover the fundamental camera shots at your disposal, how each of them typically operates and how one film used that shot size particularly well. Movies like Coco, Avengers Endgame, The Godfather Part 2, The Favourite, and Phantom Thread use specific camera shots to capture the ideal presentation of a cinematic moment. From establishing shots in Blade Runner 2049 to extreme close ups in Kill Bill, we’ll illustrate the essential building blocks of cinematography.

This is the first episode of a new series called The Shot List, where we break down dozens of possibilities filmmakers have when deciding on camera shots and angles. Cinematography has a language all its own. The next time you sit down to create a shot list, remember that there are many (almost too many) options available. But when you know the power and purpose of each possibility, the decisions become easier and easier.

#filmmaking #filmtheory #directing

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A BUNCH OF HORNY DEGENERATES, BRINGING CLASSY BACK