What is juxtaposition in film — A storyteller’s guide to the myriad of ways to use juxtaposition in film, including imagery, sound design, and editing.

What is a Juxtaposition? ►► https://bit.ly/wi-jx
StudioBinder Blog ►► http://bit.ly/sb-bl

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Chapters:
00:00 - Introduction to Juxtaposition
00:50 - Juxtaposition Defined
03:04 - Chapter 1: Mise En Scène
08:09 - Chapter 2: Sound & Music
13:03 - Chapter 3: Editing
17:30 - Takeaways

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WHAT IS JUXTAPOSITION IN FILM

Juxtaposition is such a common technique in art, it’s easy to miss it. But the artists who have mastered the art of juxtaposition understand how to communicate their ideas on a more sophisticated level. In this video, we’re going to break down the many ways a filmmaker can use juxtaposition in film, including the imagery, the sounds, and the editing.

WHAT IS JUXTAPOSITION

Juxtaposition is the process of placing two or more things together in order to invoke their similarities and/or differences. This helps define the relationship between things, but it also conjures up more intellectual or philosophical ideas about them. One of the most iconic examples of juxtaposition in literature is the opening to Charles Dickens’ A Tale of Two Cities. “It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness…” and it goes on from there. By pairing up these disparate ideas, Dickens paints a layered and complicated picture.

JUXTAPOSITION IN FILM — MISE-EN-SCENE

There are many ways to use juxtaposition in film. We can start with the broad category of mise-en-scene, which includes elements such as color, costume, props, set design, lighting, and even composition. These are visual elements that can be combined to create ideas and meaning greater than the sum of their parts.

JUXTAPOSITION IN FILM — SOUND & MUSIC

On the soundtrack, there are even more options. For example, the opening title sequence for The Shining has peaceful and idyllic landscapes paired with music that inspires dread. The juxtaposition of sound and image, then, creates an unsettling mood. Dialogue can also be paired with imagery that seem to contradict each other. In the opening for Trainspotting, Renton’s voiceover implores the viewer to choose life and many other comforts of the civilized world — all while he evades the police chasing him after a robbery.

JUXTAPOSITION IN FILM — EDITING

Editing is another fantastic way to create juxtaposition in film. As we know from the Kuleshov Effect, cutting from one thing to another creates a relationship between them. So, in Rocky IV, when we see how Rocky trains versus how Drago trains, we understand their dynamics, we establish the odds against our protagonist, and we build each fighter’s characterization at the same time.


#FilmTheory #VideoEssay #Filmmaking

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♬ SONGS USED:

“Singing In The Rain” by Gene Kelly
“Aegeus“ by Makeup and Vanity Set
“A Neverending Beam of Light“ by Makeup and Vanity Set
“Blood Trails“ by Carter Burwell
“Axe Schlomo“ by Marco Beltrami
“Fairytale“ by Harry Greyson-Williams, John Powell
“Beautiful New World“ by Danny Elfman
“Choke“ by Makeup and Vanity Set
“Collapse“ by Makeup and Vanity Set
“Only Fire“ by Makeup and Vanity Set
“The Wanderer“ by Makeup and Vanity Set
“We’ll Meet Again“ by Vera Lynn
“Main Title from The Shining“ by Wendy Carlos and Rachel Elkind
“Stuck in the Middle with You“ by Stealers Wheel
“Lust for Life“ by Iggy Pop
“The Slough Pit of Creation“ by Carter Burwell
“Discovery“ by Makeup and Vanity Set
“Los Paramos“ by Makeup and Vanity Set
“The Peephole“ by Bernard Hermann
“Thor Ragnarok Main Theme“ by Mark Mothersbaugh
“Twisted Nerve“ by Bernard Hermann
“Moonphase IV“ by Makeup and Vanity Set
“Quantum IV“ by Makeup and Vanity Set
“Crush“ 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

─────────────────────

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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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SURVIVING THE PASSPORT HOAZ: EXPOSED

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

─────────────────────

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

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

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

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

─────────────────────

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

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JOHN WICK 4 BEHIND THE SCENES

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

JOHN WICK 4 CINEMATOGRAPHY

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

JOHN WICK 4 VFX

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

JOHN WICK 4 STUNTS

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


#FilmTheory #VideoEssay #Filmmaking

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♬ SONGS USED:

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

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

─────────────────────

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💃🏿 🎉 🕺🏾

African Ancestry is celebrating 20 years of reconnecting Africa and the Diaspora through Genetics, Education, and Travel - all year long! ✊🏾...And you're invited to our virtual, after-party on The African Ancestry Experience!

TONIGHT @ 7 PM/e, we’re keeping the celebration going with Dr. Gina and friends with highlights from last night's Kick-Off Party in Washington, D.C., reflections from supporters and the team, AND a toast to the future. So, be sure you have your fave beverage on deck! 🥂

Dr. Gina will do a special anniversary African Ancestry reveal of mom, author, and entrepreneur, Lamara Patrick!

Don't Miss It!

🎁 As part of our celebration, we’re offering 10% off ANY test kit! All month long! Use code BHM23 to grab yours! (exclusions apply)

Take the Quiz:👉🏽 https://africanancestry.com/tribe

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🚨 W A T C H T H I S N E X T🚨

African Ancestry Celebrates 19 Years!
https://www.youtube.com/watch?v=Ukoqsaqt1mM

African Ancestry: We Are Africa Road Tour (2010)
https://youtu.be/av2ORwI0alA

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The African Ancestry Experience
Hosted by Dr. Gina Paige, The African Ancestry Experience airs weekly on Facebook x YouTube x LinkedIn gathering notable people across the African Diaspora to discuss what it means to transform the way Black people view themselves and Africa.

Producer: Wendi Cherry for African Ancestry

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Grab the FREE Character Development Worksheet 👉 http://bit.ly/2PaH0gl

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

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

WHO?

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

WHAT?

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

WHERE?

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

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

--

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What is exposition in screenwriting explained with some essential do’s and don’ts and various tips on how to deliver exposition the right way.

What is Film Exposition? ►► https://bit.ly/wi-ex
More "What Is?" Videos ►► https://bit.ly/wi-pl
StudioBinder Blog ►► http://bit.ly/sb-bl

─────────────────────

Chapters:
00:00 - Introduction to Plato's Allegory of the Cave
00:35 - Definition & History
01:53 - Writing Tips for Exposition
05:47 - Titles & Narration
07:03 - Dialogue
09:00 - Media
10:20 - Mise en Scène
11:18 - Wrap Up

─────────────────────

Film Exposition Explained

What is exposition in screenwriting and why do writers struggle with it? In this video, we’ll investigate this necessary evil that plagues even the best writers. Including some basic strategies on how to deliver exposition organically to the audience and some ideas of where exposition can be more effective.

In general, bad exposition is noticed by the audience and good exposition slips by without drawing attention. But how is this done? Every movie has to find its own way of how to deliver exposition in screenwriting but there are some general do’s and don’ts you can try on any script.
The Do’s and Don’ts of Writing Exposition

In writing exposition, there are at least four different approaches to make it work. The first is to disguise the information — Hitchcock said that exposition is a “pill that must be sugar-coated” so that the audience doesn’t realize they are receiving it. The second is to visualize the information, which goes back to a sacred commandment in screenwriting: show, don’t tell. In other words, if we can see it, there’s no need to explain it. The third method is to delay the information as long as possible.

Instead of telling the audience everything in Act One, saving some pieces will lure the audience in with anticipation. Finally, perhaps the most underused approach to writing exposition is to NOT deliver it at all. Ask yourself: does the audience really need to know this? What would happen if it was left unexplained? In many cases, this creates a more interesting and engaging form of storytelling.

How to Deliver Exposition

Because we’re working in film, there are many areas through which narrative exposition can be delivered. These include the more obvious outlets like on-screen text, narration and dialogue. But there are also opportunities that writers should explore, including the mise-en-scene or the media. But there is a fine line between using any of these elements for exposition — each can be unnatural or overdone and finding that balance is indeed tricky.

Writing exposition cannot be avoided but with these techniques, it can be managed and strategically employed to tell better and more immersive stories.


#FilmTheory #VideoEssay #Filmmaking

─────────────────────

♬ SONGS USED:

"Hold On (Instrumental)" - Makeup and Vanity Set
"A Glowing Light A Promise" - Makeup and Vanity Set
"A Long Strange Trip" - Michael Giacchino
"The Times They Are A-Changin'" - Bob Dylan
"Discovery" - Makeup and Vanity Set
"Stuck Behind a Train (Instrumental)" - Makeup and Vanity Set
"High School Teacher" - John Williams
"Great Leader Has Fallen" - Makeup and Vanity Set
"Crush" - Makeup and Vanity Set
"The End" - The Doors"
"Remote Interference" - Makeup and Vanity Set
"Shorting the Aa" - Nicholas Britell
"The Family Madrigal" - Stephanie Beatriz, Olga Merediz
"Still Need Syndrome" - Yarin Primak
"Welcome To Jurassic Park" - John Williams
"Amber" - Makeup and Vanity Set
"First Crop Circles" - John Newton Howard
"What's Going On" - Marvin Gaye

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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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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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

─────────────────────

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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─────────────────────

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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

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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

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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

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♬ 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

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─────────────────────

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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.

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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—

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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

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

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CINEMATOGRAPHY OF THE LAST OF US

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

THE LAST OF US CINEMATOGRAPHY — CAMERAS AND LENSES

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

THE LAST OF US CINEMATOGRAPHY — LIGHTING

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

THE LAST OF US CINEMATOGRAPHY — CAMERAWORK

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


#FilmTheory #VideoEssay #Filmmaking

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♬ SONGS USED:

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

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

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

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

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Darius Khondji Cinematography Techniques — a cinematography breakdown of one of cinema’s greatest DPs, including a look at techniques such as lighting, exposure, and color.

Darius Khondji Cinematography Techniques ►► https://bit.ly/ct-dk
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Hoyte Van Hoytema Cinematography Techniques ►► https://bit.ly/ct-hh
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Chapters:
00:00 - Intro to Darius Khondji
01:00 - Darius Khondji's Approach to Cinematography
02:06 - Chapter 1: Extreme Exposure
06:54 - Chapter 2: Lighting From Above
10:55 - Chapter 3: Green & Gold
15:20 - Takeaways

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DARIUS KHONDJI CINEMATOGRAPHY

You may not know his name but you’ve certainly seen his work. Cinematographer Darius Khondji has been behind some of the best films of the last few decades. Working with celebrated auteurs like David Fincher, Jean-Pierre Jeunet, Bong Joon-ho, the Safdie Brothers, James Gray, and Alejandro González Iñárritu, Khondji’s style blends with each director’s aesthetic. And, yet, there are some clear throughlines we can see. In this episode of Cinematography Techniques, we’ll break each of those down, including his approach to exposure, overhead lighting, and the colors green and gold.

One of Khondji’s stylistic strengths is how he approaches exposure. In Se7en, extreme underexposure creates dark and sinister interiors. Added to this was a bleach bypass treatment of the negative that increases contrast and desaturates color. The overall look is bleak, which fits perfectly with the subject matter and the themes at play.

Another one of Khondji’s preferences is overhead lighting. Depending on the context, this type of lighting has various effects. In Okja, for example, Mija and her eponymous friend walk passed massive pens with other super pigs preparing for slaughter. The overhead lights cast hard downward shadows on her face as the blue moonlight adds a layer of melancholy.

Finally, no matter the director or project, Darius Khondji clearly has a thing for green and gold. Sometimes in isolation, sometimes in combination, they add a distinct look and feel from the usual blue and orange. In a film like The City of Lost Children, the highly saturated greens mix with almost nostalgic golds. These competing colors match the competing forces at work — the innocence and warmth of children against the nightmarish plot of a scientist out to steal it from them.

Darius Khondji cinematography is unlike any other. And in the process of aiding these auteurs to manifest their visions, Khondji has created a visual style that is rich, edgy, and inspiring.


#FilmTheory #VideoEssay #Filmmaking

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♬ SONGS USED:

“Flashing Lights” - Kanye West
“New Digs” - Thomas Newman
“Windows” - Daniel Lopatin
“Smoothie” - Daniel Lopatin
“The Godfather Waltz” - Nino Rota
“Father-Ghost” - Bryce Dessner, Alejandro G. Iñárritu
“Suite from Seven” - Howard Shore
“The Immigrant Suite” Christopher Spelman
“Piggy” - Scala Kolacny Brothers (Nine Inch Nails cover)
“Mohegan Suite” - Daniel Lopatin
“Pawn Shop” - Christopher Spelman
“Vision of Fantasy” - Angelo Badalamenti
“The Ballad of Howie Bling” Daniel Lopatin
“Mateo’s Freedom” - Bryce Dessner, Alejandro G. Iñárritu
“The Final Journey” - Christopher Spelman
“Cell Clone” - Graeme Revell
“Caution - Flammable” - Howard Shore
“Lanniversaire Drive” - Angelo Badalamenti
“Back to the Woods” - Alejandro G. Iñárritu, Camilo Frodeval, Dan Zlotnik
“Walking Home” - Christopher Spelman
“Boulevard of Broken Dreams” - Esquival

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

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