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

Dennis Spurling Tells Followers To Beat Up Black Women Allegedly @DennisSpurling

MODERN MEN MOVING FAR AWAY FROM THE MATRIX

A NATION CAN ONLY RISE AS HIGH AS THE MORAL POSITION OF IT'S WOMEN

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

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

─────────────────────

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

─────────────────────

ANATOMY OF A GREAT SCENE

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

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

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

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

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

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


#FilmTheory #VideoEssay #Filmmaking

─────────────────────

♬ SONGS USED:

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

Music by Artlist ► https://utm.io/umJx
Music by Artgrid ► https://utm.io/umJy
Music by Soundstripe ► http://bit.ly/2IXwomF
Music by MusicBed ► http://bit.ly/2Fnz9Zq

─────────────────────

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

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

— Join us on Social Media! —

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

─────────────────────

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

─────────────────────

HOW TO WRITE PLOT TWISTS

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

WRITING PLOT TWISTS REQUIRES MISDIRECTION

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

COMPELLING PLOT TWISTS HAVE CLUES

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

WHEN TO REVEAL THE PLOT TWIST

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

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


#FilmTheory #VideoEssay #Filmmaking

─────────────────────

♬ SONGS USED:

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

Music by Artlist ► https://utm.io/umJx
Music by Artgrid ► https://utm.io/umJy
Music by Soundstripe ► http://bit.ly/2IXwomF
Music by MusicBed ► http://bit.ly/2Fnz9Zq

─────────────────────

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

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

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

— Join us on Social Media! —

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

The Tracking Shot in Film — the ultimate guide to this very popular and useful camera movement, including considerations for lenses, speed, direction, stabilizers, editing, and more.

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

─────────────────────

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

─────────────────────

ULTIMATE GUIDE TO THE TRACKING SHOT

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

WHAT IS A TRACKING SHOT

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

HOW TO DO A TRACKING SHOT

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

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

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

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

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

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


#FilmTheory #VideoEssay #Filmmaking

─────────────────────

♬ SONGS USED:

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

Music by Artlist ► https://utm.io/umJx
Music by Artgrid ► https://utm.io/umJy
Music by Soundstripe ► http://bit.ly/2IXwomF
Music by MusicBed ► http://bit.ly/2Fnz9Zq

─────────────────────

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

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

— Join us on Social Media! —

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

#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

─────────────────────

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

─────────────────────

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

─────────────────────

♬ SONGS USED:

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

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

─────────────────────

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

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— Join us on Social Media! —

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

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

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

─────────────────────

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

─────────────────────

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

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Cinematic Lighting Techniques Explained

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

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

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

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

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

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


#FilmTheory #VideoEssay #Filmmaking

─────────────────────

♬ SONGS USED:

"Danger Zone" - Kenny Loggins
"Origin" - David A. Molina
"Dojo Tradition (Instrumental)" - In This World
"Time Warp" - Notize
"Mercury" - Alon Ohana
"Assembly Line Dreams" - Ostin Drais
"Mauretania (Instrumental)" - Sam Barsh
"Night Driveway" - Max H.
"Cdhiddendir" - Out Of Flux
"Hold On (Instrumental)" - Makeup and Vanity Set
"Oscillating Form" - Charlie Ryan
"Club Foot Clavipes (Instrumental)" - Isaac Joel
"No Link (Instrumental)" - Sam Barsh
"Stuck Behind a Train (Instrumental)" - Makeup and Vanity Set
"Royal Blue (Instrumental)" - Makeup and Vanity Set
"That Night" - 2050

Music by Artlist ► https://utm.io/umJx
Music by Artgrid ► https://utm.io/umJy
Music by Soundstripe ► http://bit.ly/2IXwomF
Music by MusicBed ► http://bit.ly/2Fnz9Zq

─────────────────────

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

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

— Join us on Social Media! —

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

─────────────────────

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

─────────────────────

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

─────────────────────

♬ 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

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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

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The History of Animation — a guide to the evolution of animation styles, techniques, technologies, and how filmmakers bring their subjects to life.

What is Animation? ►► https://bit.ly/sl-an
The Shot List Series ►► https://bit.ly/the-shot-list
StudioBinder Blog ►► http://bit.ly/sb-bl

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Chapters:
00:00 - Intro to Animation
00:52 - History of Animation
03:05 - Traditional Animation
08:39 - Rotoscoping
11:09 - Anime
14:08 - Stop Motion
16:29 - Cutout
19:20 - 3D Computer
22:33 - Takeaways

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Special thanks to:
The Art of Aaron Blaise ►► https://bit.ly/ao-ab
Bradleigh Utz ►► https://bit.ly/bf-lu
Flipt Pictures ►► https://bit.ly/fl-pc
Massimo Giangrande ►► https://bit.ly/ms-ge, https://bit.ly/ma-ge
MPC ►► https://bit.ly/em-ce
sumerias1 ►► https://bit.ly/su-ms
Victoria and Albert Museum ►► https://bit.ly/vi-am
Your Average Skillets ►► https://bit.ly/ya-sk

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THE HISTORY OF ANIMATION & EVOLUTION OF ANIMATION STYLES

From the beginning of film history, filmmakers have experimented with animation in many forms and techniques. In this video, we will lay out a brief history of animation and the evolution of animation styles. Including the techniques, the technologies, the differences, and the various mediums animators use to give their inanimate subjects the illusion of life.

The word animation comes from Latin "animatio" and means “a bestowing of life.” Like film, animation is the illusion of movement through the rapid succession of images created by a process called “persistence of vision.” This works because when we see one image, it is retained on our retina for a fraction of a second, just long enough for a second image to appear — and thus, we see a single moving image instead of a series of flashing static images.

Traditional animation was the dominant type of animation in the 20th century. Basically, this involves drawing images, frame-by-frame. As the years went on, new techniques were developed to turn animation into more of an assembly line process. Animators like Walt Disney and his studio helped turn animation into a viable commercial and artistic medium.

Rotoscoping is a technique that uses live-action footage as a reference to create animation with more realistic movement. Today, we can see variations of this process in films like Richard Linklater’s Waking Life and A Scanner Darkly. Anime is an umbrella term used to describe Japanese animation, which tends to share many of the same styles and techniques as Western animation, along with some key deviations.

Stop-motion animation is also similar to traditional animation, except the subjects are often physical objects instead of drawings, like puppets or figurines. Claymation is a sub-type of stop-motion animation that uses plasticine clay. Cut-out animation uses shapes or characters cut out of paper or fabric and moved frame-by-frame. More recently, 3D animation has replaced 2D animation as the most common animation style. And, yet, it follows the same general principles.


#FilmTheory #VideoEssay #Filmmaking

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♬ SONGS USED:

"Caution (Instrumental)" - Skrxlla
"Origin" - David A. Molina
"A Battle in the East" - Rhythm Scott
"1986" - Angel Salazar
"Animatio" - Mike Steele
"Colors of the Wind (From Pocahontas)" - Royal Philharmonic Orchestra
"The Entertainer" - E's Jammy Jams
"Still Need Syndrome" - Yarin Primak
"By the Dear Old River Rhine" - Burr and Campbell
"Can't Help It" - Shtriker Big Band
"Ripples" - Tamuz Dekel
"Blue Beings"
"Echo" - Twin Signals
"In Love with Emi" - Fabien Fustinoni
"Take On Me" - a-ha
"O Come Let Us Adore Him (Instrumental)" - Salt of the Sound
"From a Distance (Theme from Hit TV)" - Makeup And Vanity Set
"Dojo Tradition (Instrumental)" - In This World
"The Path Of The Wind (Instrumental)" - Joe Hisaishi
"Visit to Hida" - RADWIMPS
"Kaneda" - Geinoh Yamashirogumi
"A Town with an Ocean View" - Joe Hisaishi
"Flare" - Theatre of Delays
"Merge"
"Story Time" - Dario Marianelli
"Action Drums" - Rhythm Scott
"Time Warp" - Notize
"Yes I Am " - Zach Sorgen
"South Park Theme" - Primus
"Theme Song Ending Credits"
"Stuck Behind a Train (Instrumental)" - Makeup And Vanity Set
"Double Espresso" - Francesco D'Andrea
"New World" - Ian Post
"Wistful (Instrumental)" - Falls
"You've Got a Friend in Me" - Randy Newman
"A New Morning" - Portl
"To Burn" - Man With Roses
"State Lines (Instrumental)" - Aaron Kellim

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

─────────────────────

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

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

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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

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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

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♬ 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"

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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