POOKIE AND RAY RAY HAVE LIVE THEIR BEST LIVES OVER THE PAST 60 YEARS IN THE BLACK COMMUNITY NOURISHED AND PROTECTED BY THE BLACK FEMALE MATRIARCHY. AS THE BLACK MATRIARCHY AND THE AUTHORITY INFLUENCE OF BLACK WOMEN WAINING, POOKIE AND RAY RAY NO LONGER HAVE THEY PROTECTED COVERING.

WHAT IS HAPPENING IS BLACK MEN HAVIING RISEN INTO THE MIDDLE CLASS ARE NOW ATTACKING THE VALUE SYSTEM THAT GOVERNED POOKIE AND RAY RAY. THIS WAR IS RAMPING UP AND SOON THERE WILL BE ONLY A VERY SMALL SPACE FOR THAT POOKIE AND RAY RAY VALUE SYSTEM TO EXIST. THIS WILL INCLUDE THE HALF COCKED OFF BASE RELIGIONS, THEIR IDEAS ON FAMILY, MANHOOD, SUCCESS, COMMUNITY EDUCATION AND FATHERHOOD.

THIS IS A WAR. IT MAY NOT BE FOUGHT WITH GUNS AND BOMBS BUT THERE WILL BE CASUALITES. IN THIS REGARD, POOKIE AND RAY RAY MUST DIE FOR THE BLACK MEN IN THE MIDDLE CLASS TO RISE.

Exposing Dennis Spurling. You can see the interview in its fullness on his channel and see me get frustrated and lose my cool. My video is just to highlight the erroneous teaching of scripture and the support that it garners not on it's own merit but through the words and education held by Mr. Spurling. As stated by himself. In this video you will see a person that claims to know the scripture or at least presents himself as such, but blatantly lies or is grossly miseducated which I am assured is not the case.

Thank you to all you have supported and those who will support my channel.
To The Most High God be the Glory.

Lori Harvey She knows She’s Playing with these Dudes Hearts…

She chose to Pose with that Goat for a Reason. 🐐

She’s trying to Build Her Legacy as like a Black Marilyn Monroe. Each New Celebrity Man is like a Trophy for Her. She’s trying to exercise that White Woman privilege, but she’s not White.

Men, You MUST UNDERSTAND that She’s Influencing Millions of Young Girls to Move just like Her…

So You better DETACH your Heart from these Modern Women & Focus on Yourself.

And if you want a Wife, Go over seas and look for women who are not cursed with the knowledge of feminism

Will The Passport Bros Create a NEW Black America? @Dennis Spurling ​

0:00 Countdown
10:00 Introduction
12:50 Intake Personal Experience AFTER Your Divorce
15:00 Made Million a Year 10 - 15 A Year
16:38 Reality YOU NEED TO understand YOU CANT BEAT MEN AT THIS GAME
17:30 I Would NOT A Women My Age
18:00 Young Men With Money Have Options
19:28 They Want Them But They DON’T Qualify
20:00 Blue Henry Guys Get Looked Over!!!!
21:34 Brothers From ALL OVER Who Are Following
22:45 Austen Holleman
24:15 There Are Other Places You Can Be
24:30 Passport Bros is a SMALL PERCENTAGE
25:22 In 10 and 15 Years, DON’T Date Those Black American Women
26:00 Black Women Being Ostracized
27:15 Older Black Women Say DON’T Marry These Young Black Girls…
28:00 Toxic, Pookie Culture is Synonomous With Black Culture
29:00 Racial Loyalty NO LONGER Exists
29:39 Black People Are Separating Themselves
30:00 Sally Jesse Raphael
30:30 Generation X Is the LAST Generation Says LET’S KEEP IT REAL
31:00 Passport Bros is Going to Grow, That Is Going to Be Painful
32:30 Black American Women Have Been CONVINCED We Have No Value
33:00 Cultural Pattern/Shift
34:28 Peace of Mind and HAPPINESS IS ALL They Want
34:00 They WANT TO GET MARRIED, Not Marriagable
35:20 You’re NOT Treating Us Right
36:48 It’s Too Nice
37:10 A lot of These Men Developed Opinion Because of Their Mother/Sisters
37:30 Women Wh Raise Boys Struggle SO HARD
38:00 52% Of Black Men Are Unmarried - THEY’RE OUT!
38:30 They Grew Up Around
40:00 Shaming ONLY Works On People Who Care About Us…
40:30 Black Pill — There Is No Hope
43:00 Wealthy Artists And Entertainers
44:00 Black Culture Is Now SYNONOMOUS With Ghetto Behaviour
44:44 Those Ladies Who Exhibit Class
45:00 THOT Avalanche
45:30 Our Families Have Deteriorated to the Core!!!!
46:00 Black American Culture Needs infusion of
47:30 One Big Negro
50:28 Advice to Young Ladies, Listen To Your PARENTS!
51:00 They Are Valuable.
52:00 It’s FUN TO Be a THOT Early On
52:30 Understand Your BODY Is Valuable!
53:00 What Do You Bring To the Table Ladies?
54:05 Dennis Cousin
54:30 Low Caliber Women
55:00 Be a Good Human Being
55:30 Women In Their 20s
56:16 Women Think Their Smarte Than Men
57:30 I’m Not In the Business of Recyling 304s
59:00 Women Don’t Know About Men
1:00:30 You Don’t Want
1:02:00 I Don’t Give Advice to Women
1:04:10 First World Problem
104:30 BENEATH Me to Approach Men On My Caliber
1:08:00 Black Women Trying to Live a Fantasy WW Don’t Even Have
1:09:30 You’ve Convinced Us You Don’t Want Us
1:11:00 Uncle D Unfiltered,
1:12:00 18 - 24 And
1;14:00 Maximize Your Time
1:16:00 Women The Biggest *busers of Children
1:17:00 Ladies Have a Uphill Bottle
1:18:30 Radical Turn Around
1:19:00 I’m Not Like Kevin
1:19:30 I Don’t Have No Compassion For Ya
1:20:30 KEVIN SAMUELS Was Your Last HOPE!
1:22:00 We Don’t Care!!!!!!
1:22:50 F^&* The Communitah!!!!
1:23:30 Child Doesn’t Fell Warmth of Village Will Burn It Down
1:24:00 His is SOLEY Black Men
1:24:30 Egos Are Big
1:26:00 Why Black Women FLOCKED TO KEVIN SAMUELS
1:28:00 Not Everybody Are Going to Make It
1:29:30 Going to Nee a Man Take Care of You
1:31:00 Suffer Before You Mad
1:32:00 Comrardery Ends At a Certain Age
1:32:30 Most of My Friends Are Deleted
1:33:10 Got A Man Hold Onto Him
1:34:20 You’re Just Average And That’s Ok
1:36:30 Shout Out to All the Truck Drivers
1:38:00 Black Women Asking for a Black Patriarchy
1:41:00 Black Folks
1:42:00 I Think It’s a Cycle Good for Right Now
1:42:30 Men and
1:46:30 Races Of Women Reprimanding BLACK WOMEN For Not Holding Onto Your Man
1:47:00 Men Go for Convenience
1:48:50 Shame Them Back To the Plantation
1:50:30 Latina Women Femininity Being Reinforced By Culture
1:51:00 Ya’ll Stopped Listening to Big Mama
1:52:00 Marriage Akin to Slavery
1:53:00 Racism Is Worst in the United States
1:55:00 Survived the LA Riots
1:57:58 His Poor Mother…
1:58:50 You Don’t Want a Patriarchy
2:00:59 These Men DON’T Love You!
2:02:00 Had a Great Grandmother
2:04:00 Western Society Is Tip of the Spear
2:04:45 You Got a SLIM CHANCE
2:06:30 Do You Want Your Sons Marrying A Women Like You?
2:07:30 Whatever You Don’t Work For You Undervalue
2:09:00 Be A Feminine Women


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Black Women, Black Men, Modern Women, Racism, Passport Bros, Grab Your Passport, SYSBM, Manosphere, The Black Manosphere, Red Pill, Black Pill, Black Community, Thot, 304, Thot Culture

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Panel:
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MODERN BLACK MEN ARE INTERESTED IN LEAVING NOT LEADING #PASSPORTBROS

Three Act Structure Explained — writer and story expert K.M. Weiland breaks down three-act structure and how it works using Jurassic Park.

What is the Three Act Structure? ►► https://bit.ly/wi-3a
Watch the Full Interview with K.M. Weiland ►► https://bit.ly/km-in
StudioBinder Blog ►► http://bit.ly/sb-bl

K.M. Weiland resources:
Helping Writers Become Authors (Blog) ►► https://bit.ly/km-bl
K.M Weilan (YouTube) ►► https://bit.ly/km-yo
Structuring Your Novel (Book) ►► https://bit.ly/km-sn
Writing Archetypal Character Arcs (New Book) ►► https://bit.ly/km-ac

─────────────────────

Chapters:
00:00 - Introduction to the Three Act Structure
00:49 - Why the Three Act Structure Matters
03:24 - Part 1: The Hook
06:18 - Part 2: Inciting Event
08:16 - Part 3: 1st Plot Point
11:16 - Part 4: 1st Pinch Point
14:36 - Part 5: Midpoint
17:45 - Part 6: 2nd Pinch Point
20:11 - Part 7: 3rd Plot Point
22:54 - Part 8: Climax
25:56 - Takeaways

─────────────────────

THREE-ACT STRUCTURE EXPLAINED

If you’re a writer, hoping to be a writer or even a casual movie-goer, you’ve probably heard of three-act structure. More than simply “beginning, middle, and end,” three-act structure is dominant in Western storytelling. And in this video, we sat down with writer and story expert K.M. Weiland as she breaks down the eight parts of three-act structure, how they work, and what they aim to accomplish. To do this, Weiland dissects one of the best-structured movies of all time — Steven Spielberg’s Jurassic Park, written by David Koepp based on a novel by Michael Crichton.

WHAT IS THREE-ACT STRUCTURE

While the concept of a three-act structure is fairly recent, stories have followed this pattern for centuries. Act One introduces us to the characters, their world, and the major conflict. Act Two sees the characters set out to resolve that conflict and attain whatever goals were established in the previous act. Act Three contains the final test or confrontation that will decide the outcome of this pursuit with either success, failure, or something in between. In a nutshell, this is the structure that most stories, novels, films, TV shows, or any other narrative medium follow.

DOES THREE-ACT STRUCTURE WORK?

Yes, it does, but not for every story. Shakespeare often constructed his plays in five acts. The three-act structure is ubiquitous in Western storytelling and, therefore, has, in some circles, garnered a negative reputation as being creatively restrictive. But as Weiland explains, story structure of any kind doesn’t preclude creativity — it is merely the container, and what is inside (the characters, the plot, the themes, etc.) is the real gift.

Learning three-act structure is a way to grasp the fundamentals of storytelling. That way, when bending or breaking those rules becomes necessary, it can be done without sabotaging a story’s chances of reaching and connecting with the audience.


#FilmTheory #VideoEssay #Filmmaking

─────────────────────

♬ SONGS USED:

"Fratres (Version for Cello & Piano)" - Avro Pärt
"A Battle in the East" - Rhythm Scott
"Last But Not Least (Instrumental)" - Chelsea McGough
"All Star" - ANBR
"Journey To The Island" - John Williams
"War Banner (Instrumental)" - Cody Martin
"Incident At Isla Nublar" - John Williams
"The Princess Appears" - John Williams
"Shining Star" - Earth, Wind & Fire
"The Hands Dealt" - Michael Giacchino
"Theme From Jurassic Park" - Michael Giacchino
"1986" - Angel Salazar
"Three Is Company" - Howard Shore
"Welcome To Jurassic Park" - John Williams
"British News Team" - Lance Conrad
"Glass" - Claudio Laucci
"T-Rex Rescue & Finale" - John Williams
"The Raptor Attack" - John Williams
"Crystal Clear (Instrumental)" - Tiko Tiko
"Dennis Steals The Embryo" - John Williams
"Terminal' - Stanley Gurvich
"Many Mothers" - Junkie XL
"High-Wire Stunts" - John Williams
"Merge" - Theatre of Delays
"Forrest Gump Suite" - Alan Silvestri
"State Lines (Instrumental)" - Aaron Kellim

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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Instagram ►► https://www.instagram.com/studiobinder
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Entitled Women and the Sons they raise

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

─────────────────────

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
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The Last of Us Behind the Scenes Cinematography Breakdown — a look at the creative visual choices made by the team of cinematographers, including choosing cameras, lenses, and handheld shots to keep the viewer as engaged with the show as players were with the game.

The Making of The Last of Us ►► https://bit.ly/co-lu
StudioBinder Blog ►► http://bit.ly/sb-bl

─────────────────────

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

─────────────────────

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

─────────────────────

♬ SONGS USED:

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

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

─────────────────────

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

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 the midpoint of a story — a comprehensive look at story structure and the midpoint in film, including strategies writers use to link Act One to Act Three.

What is a Midpoint? ►► https://bit.ly/wi-mp
More "What Is?" Videos ►► https://bit.ly/wi-pl
StudioBinder Blog ►► http://bit.ly/sb-bl

─────────────────────

Chapters:
00:00 - Introduction to Theme
00:52 - Definition & History
03:13 - Functions of the Midpoint
04:27 - Add a Time Clock
04:54 - Raise the Stakes
05:19 - Force Change
07:06 - Types of Midpoints
13:08 - Takeaways

─────────────────────

HOW TO WRITE THE MIDPOINT OF A STORY

The T-Rex attack in Jurassic Park, the shower scene in Psycho, and Michael’s restaurant hit in The Godfather — some of the most iconic scenes in film history, right? They also function as one of a story’s most important plot points: the midpoint. In this video, we’ll explain why the midpoint is so important and the various types writers can choose from that best fits their story.

WHAT IS A MIDPOINT

The concept of the midpoint was popularized by screenwriting guru Syd Field after he noticed his students were struggling in the second act of a three-act structure. It was his friend, director Sam Peckinpah, who explained that he always liked to hang his films on a “centerpiece,” usually in the middle, to keep the momentum going and/or to change the story’s direction. And, so, Field took this and dubbed it “the midpoint” — a major story beat or turning point in the middle of Act Two that connects the beginning and end while giving the story a boost of energy into the climax and final act.

TYPES OF MIDPOINTS

Even though the midpoint placement is fairly consistent (middle of Act Two), various types of midpoints will change the story in various ways. Choosing which type to use depends on the story and how you want the new trajectory to unfold into Act Three. The first type of midpoint is the setback. This is when the protagonist encounters a major obstacle that places them further away from their goal. Like in Dune, when House Atreides is betrayed, Duke Leto is killed, and Paul and Lady Jessica are exiled to the desert.

This is similar to another type of midpoint called a false defeat. This involves a temporary defeat or setback that becomes an opportunity to find a new, better plan. We can see this in The Matrix when the Oracle confirms Neo’s suspicions that he is not The One. Of course, Neo eventually does prove to be The One after he believes it for himself.

On the opposite side, there’s also a false victory midpoint — the hero believes they have made a breakthrough toward their goal only to realize it would ultimately lead to failure. In 500 Days of Summer, Tom believes that he is developed a deep romantic connection with Summer, which makes their breakup all the more devastating.

A reversal shifts the entire story and the protagonist’s goals. Like when Joel wants to reverse the procedure that is erasing Clementine from his memory in Eternal Sunshine of the Spotless Mind. There’s also the twist midpoint which is a major turning point the audience had no idea was coming that changes the direction, protagonist, or even the genre.

The midpoint in a story holds a lot of potential for writers to push their narrative in unexpected and compelling ways. If you can crack the midpoint, you can crack the entire story.


#FilmTheory #VideoEssay #Filmmaking

─────────────────────

♬ SONGS USED:

"Double Espresso" - Francesco D'Andrea
"Battle Dance" - Rhythm Scott
"1986" - Angel Salazar
"Adventures on the High Road" - Jerry Fielding
"To Burn" - Man With Roses
"Cyberpunk Sunrise" - Evgeny Bardyuzha
'Stay" - Hans Zimmer
"Assembly Line Dreams" - Ostin Drais
"On the Eve of Harlan's Demise" - Nathan Johnson
"The New Godfather" - Nino Rota
"Paradise Found" - Michael Giacchino
"Out To Sea" - John WIlliams
"Blow To Bits"
"Still Need Syndrome" - Yarin Primak
"The One" - Hans Zimmer
"Wookie Prisoner / Detention Block / Ambush" - John Williams
"Main Title / Trinity Infinity" - Don Davis
"Cold Hearted Switch" - Don Davis
"Conspiracy Theories" - Jean Pol Cornelis
"To the Architect" - Rob Simonsen
"Collecting Things" - Jon Brion
"Theme"
"Yes I Am (Instrumental)" - Zach Sorgen
"Main Title" - Jerry Goldsmith
"Breakaway" -
"The Murder" - Bernard Hermann
"Fat Banana" - Kicktracks
"Stuck In The Middle With You" - Stealers Wheel

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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What is an Antagonist — a look at one of storytelling’s most crucial elements, including the types of antagonists, their characteristics, and their functions.

What is an Antagonist? ►► https://bit.ly/wi-an
StudioBinder Blog ►► http://bit.ly/sb-bl

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Chapters:
00:00 - Introduction to Antagonists
01:03 - Antagonist Definition & History
02:59 - Villain Antagonist
08:33 - Other Types of Antagonists
15:26 - Multiple Antagonists
17:48 - Takeaways

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WHAT IS AN ANTAGONIST IN STORYTELLING

Every story needs a protagonist, a main character pursuing a goal. And every protagonist needs obstacles in their way — cue the antagonist. In this video, we will examine what constitutes an antagonist, its characteristics and function, and the various types of antagonists in storytelling.

WHAT IS THE DEFINITION OF ANTAGONIST

According to John Yorke, an antagonist is “the sum total of all the obstacles that obstruct a character in the pursuit of their desires. They are the problem or obstacle the protagonist has to overcome.” Unlike the protagonist, who is usually a character, an antagonist can be many things.

TYPES OF ANTAGONISTS

The most common antagonist is the villain, an evil character prone to doing evil things. In many cases, it is up to the protagonist to stop them. But remember, an antagonist can be anything that keeps the protagonist from reaching their goals. This could be the environment around them, especially in disaster films. Animals, the big and dangerous ones, in particular, make great antagonists.

An anti-villain is an antagonist whose motives clash with the protagonist, even if they want the same thing. Sometimes, an antagonist turns out to be an ally all along — this is a false antagonist. A character who is only revealed as the antagonist in the end is called the hidden antagonist. Inanimate objects like robots or ghosts are also prime antagonists. And, finally, one of the most interesting antagonists is the protagonist themselves, or rather something in their character that prevents them from succeeding.

MULTIPLE ANTAGONISTS

Beyond these variations and types of antagonists, some stories benefit from having more than one. Group antagonists are commonly found in genres such as war films (army vs army) or sports films (team vs team). There is also the opportunity to combine different types in the same film. In Titanic, Jack and Rose must battle against her fiance Cal before the iceberg creates a new antagonist: the sinking ship.

It’s a natural tendency for writers to focus more on their protagonists, but an equal amount of attention should be paid to their antagonists as well. As Robert McKee said, “A protagonist and their story can only be as intellectually fascinating and emotionally compelling as the forces of antagonism make them.”


#FilmTheory #VideoEssay #Filmmaking

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♬ SONGS USED:

"War Banner (Instrumental)" - Cody Martin
"Battle Dance" - Rhythm Scott
"Time Warp" - Notize
"Yes I Am (Instrumental Version)" - Zach Sorgen
"Discovery" - Makeup and Vanity Set
"The Terminator Theme (Extended Version)" - Brad Fiedel
"Dojo Tradition (Instrumental)" - In This World
"Dark Blood" - Jimmy Svensson
"Staring Into The Abyss" - 2050
"Pas De Deux" - Michael Abels
"Gotham's Reckoning" - Hans Zimmer
"Full Access" - Jimmy Svensson
"Revisiting Snoke" - John Williams
"Prologue: One Ring to Rule Them All" - Howard Shore
"Spider-Man 2 Main Title" - Danny Elfman
"Medication Valse" - Jack Nitzsche
"To Burn" - Man With Roses
"Killmonger" - Ludwig Göransson
"Severus and Lily" - Alexandre Desplat
"Free Your Mind" - Don Davis
"What Have We Done to Each Other" - Trent Reznor
"The Wrestler (Original Score)" - Clint Mansell
"1986" - Angel Salazar
"The Canyon" - A. R. Rahman
"Elgar Cello Concerto in E Minor, Op. 85 - I. Adagio - Moderato (Recording Session / Excerpt)" - Sophie Kauer
"Catch Me If You Can" - John Williams
"A Moon Walk (Instrumental Version)" - Yehezkel Raz
"War Paint" - Rhythm Scott
"Assembly Line Dreams" - Ostin Drais
"Otto Trouble" - Michael Giacchino
"Rose" - James Horner
"Cosmos" - Theatre Of Delays
"Theme from Darker Colors" Makeup and Vanity Set
"Bad To The Bone" - George Thorogood

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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#BlackManosphere #Educated Lames #Dennis Spurling

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

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

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

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

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


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StudioBinder is the world's leading project management platform for film and TV. From scripts to storyboards, shooting schedules to call sheets and more, StudioBinder provides tools for every phase of production in one unified, secure console.

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

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

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

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

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TERMINATOR 2 BEHIND THE SCENES

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

THE MAKING OF TERMINATOR 2 — CINEMATOGRAPHY

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

TERMINATOR 2 SPECIAL EFFECTS

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

TERMINATOR 2 VISUAL EFFECTS

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

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


#FilmTheory #VideoEssay #Filmmaking

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♬ SONGS USED:

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

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

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

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

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

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Edited by MIKE STEELE

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

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

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

STAR WARS MOVIES SPECIAL EFFECTS

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

STAR WARS VISUAL EFFECTS

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

STAR WARS SFX

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

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


#FilmTheory #VideoEssay #Filmmaking

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♬ SONGS USED:

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

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

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

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Hear More of the Best Movie Soundtracks ►► http://bit.ly/best-movie-songs
More Directing Videos ►► http://bit.ly/2SMTez2

In this filmmaking video essay, we look at some of the best movie soundtracks to see how filmmakers’ music cues — or “needle drops” — create iconic cinema. The term “needle drop” refers to when a popular song is placed strategically in a scene. Here, our case studies of epic movie soundtracks are American Psycho, Thor: Ragnarok, and Almost Famous.

In a scene that famously features Huey Lewis and the News’ “Hip to Be Square,” the American Psycho soundtrack creates cognitive dissonance for viewers, juxtaposing the song’s upbeat tone with a grisly murder. The Thor: Ragnarok soundtrack uses Led Zeppelin’s “Immigrant Song” to celebrate its fallen hero’s return to glory. And the Almost Famous soundtrack cues up Elton John’s “Tiny Dancer” to create a moment of release for its characters at the film’s climax.

The needle drops in truly great movie soundtracks are designed to affect audiences in an extremely specific way. Some of these movie songs are tied directly to the plot, while others may intentionally offset the film’s tone to create irony.

Discerning directors also use music to introduce leitmotifs, and we’ll take a look at that, too — from Jaws to The Godfather to The Royal Tenenbaums. So, with our eyes and ears open, let’s explore the monumental importance of soundtrack in film.

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Music by Music Vine ► http://bit.ly/2IUE0pT
Music by MusicBed ► http://bit.ly/2Fnz9Zq

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Black women are the most disrespected and unprotected iconic Malcolm X quote as been misused and reframed in order to shame Black men. Black Americans suffered as a whole and a part of the gender lines. All be it that the black woman has unique circumstances, she must face on a daily basis. On the opposite end of the scale, the Black man faces his own unique challenges. In short, trying to out victim each other is a losing battle, and shaming the black man to strengthen your arguments only weakens your achievements. Because we are seen as one people like it are not. What affects Black man affects the Black woman universally.