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

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Chapters:
00:00 - Intro — Cinematic Lighting
01:00 - Why Film Lighting Matters
01:09 - Single Subjects
06:15 - Multiple Subjects
08:55 - Exterior Day
12:42 - Exterior Night
16:21 - Interior Day
18:46 - Interior Night
22:19 - Takeaways

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Special thanks to:
DiCasaFilm ►► https://bit.ly/dc-li
Creative Path Films ►► https://bit.ly/3TmITI5
postPerspective ►► https://bit.ly/pp-co
Tim de la Torre ►► https://bit.ly/td-lt

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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

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

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

─────────────────────

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

─────────────────────

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

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Cinematic Lighting Techniques Explained

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

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

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

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

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

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


#FilmTheory #VideoEssay #Filmmaking

─────────────────────

♬ SONGS USED:

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

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

─────────────────────

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

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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

─────────────────────

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

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

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

—

Music by Artlist ► https://utm.io/umJx
Music by Artgrid ► https://utm.io/umJy
Music by Soundstripe ► http://bit.ly/2IXwomF
Music by Music Vine ► http://bit.ly/2IUE0pT
Music by MusicBed ► http://bit.ly/2Fnz9Zq

—

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

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

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

— Join us on Social Media! —

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

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

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

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

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

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THE HISTORY OF ANIMATION & EVOLUTION OF ANIMATION STYLES

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

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

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

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

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


#FilmTheory #VideoEssay #Filmmaking

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♬ SONGS USED:

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

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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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

—

Music by Artlist ► https://utm.io/umJx
Music by Artgrid ► https://utm.io/umJy
Music by Soundstripe ► http://bit.ly/2IXwomF
Music by Music Vine ► http://bit.ly/2IUE0pT
Music by MusicBed ► http://bit.ly/2Fnz9Zq

—

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

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

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

— Join us on Social Media! —

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

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

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

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

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

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

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

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

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

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

#FilmTheory #VideoEssay #Filmmaking

—

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

—

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

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

─────────────────────

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

─────────────────────

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

─────────────────────

CANDLELIGHT CINEMATOGRAPHY

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

HOW TO LIGHT A SCENE WITH CANDLELIGHT

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

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

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

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

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

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


#FilmTheory #VideoEssay #Filmmaking

─────────────────────

♬ SONGS USED:

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

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

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

─────────────────────

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

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Film Composition Explained

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

What is Composition?

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

Elements of Composition

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

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

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

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


#FilmTheory #VideoEssay #Filmmaking

─────────────────────

♬ SONGS USED:

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

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Music by 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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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
Roger Deakins Cinematography Techniques ►► https://bit.ly/rd-ct
Hoyte Van Hoytema Cinematography Techniques ►► https://bit.ly/ct-hh
StudioBinder Blog ►► http://bit.ly/sb-bl

─────────────────────

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

─────────────────────

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

─────────────────────

♬ 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

─────────────────────

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#AfricanAncestry #DNA #Genetics #FindYourTribe #Roots #BlackOwned #AskDrKittles

AfricanAncestry.com's Scientific Director and Co-Founder Dr. Rick Kittles explains why he started African Ancestry - a company that helps expand the way people view themselves and the way they view Africa!

Find YOUR Tribe! Take our quiz https://africanancestry.com/quiz

Subscribe 👉🏽 http://africanancestry.com/lives to watch past African Ancestry Lives to be inspired, educated, and empowered!

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

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

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

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

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

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

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

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

#blockingmovie #stagingscenes #directingmovies


—

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

—

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

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

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

─────────────────────

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

─────────────────────

VIRTUAL PRODUCTION EXPLAINED

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

WHAT IS VIRTUAL PRODUCTION

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

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

HOW VIRTUAL PRODUCTION WORKS

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

THE PROS AND CONS OF VIRTUAL PRODUCTION

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

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

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


#FilmTheory #VideoEssay #Filmmaking

─────────────────────

♬ SONGS USED:

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

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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Register at https://bit.ly/brooklyn20years

We’ve been around the world and now we're bringing the celebration to Brooklyn! It is an honor to partner with our friends at the National Medal of Arts Award-winning Billie Holiday Theatre.

Join us as we move into the next 20 years of Embracing Africa through genetics, education and travel, right in the heart of Bed-Stuy.
The afternoon will be filled with African connections, live Ancestry Reveals, a Culture Chat, a DNA Q&A session, AA Swag giveaways, a major 20% discount, refreshments, music and more.

Ancestry Reveals: Watch as Brooklyn artists Juliette Jones, Colin Asare-Appiah, Debbie Hardy, and Patrick Dougher, learn their specific African roots live for the very first time.

Meet Your Cousins: Connect with other people from the tri-state area who have found their specific connections to present-day African countries and ethnic groups and share your experiences.

Culture Chat : Dr. Gina Paige will be in conversation about Black identity with Creative Director Hollis King and Wellness Advocate Khadija Tudor.
DNA Q&A: Learn how genetic ancestry tracing works and why it is important for Black people.

Find Your Roots: Enjoy 20% off of African Ancestry Test Kits and merchandise, at the event only.

🌍 😭 🙌🏽

Last July, African Ancestry’s own Premiere Customer Experience Manager, Di Shawn Gandy, shared his amazing discovery of finding his African-born ancestor, affectionately known as African-born Malcolm, on a census record. Two years later, he found his 74-year-old cousin, Mr. Edward Malcolm, one of only two living, direct descendants of African-born Malcolm.

In this special reveal. African Ancestry reconnects African-born Malcolm and the Malcolm, Gandy, Lane, and other branches back to their African homeland!

9:51 How Di Shawn found his long-lost cousins, Mr. Edward and Mrs. Sharon Malcolm using technology and genealogy.

14:23 Why Mr. Malcolm didn't identify as being African and what he thought when Di Shawn first contacted him.

18:12 How Di Shawn found his African-born ancestor on a census record.

25:25 THE REVEAL!

30:10 Reactions to the ancestry results. (Get your tissues!)

36:10 A new name for African-born Malcolm

42:43 Can the African Ancestry test give a link back to the African natives?

Be sure to check out Di Shawn's original episode so you’re all caught up on this inspiring story to see how the power of genealogy and DNA technology can help fill the Africa void!
🎥 https://youtu.be/vYbb90Yj4SI

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

Producer: Wendi Cherry for African Ancestry

#africanancestry #africanancestrydna #fortheculture #blackculture #blackexperience #africandiaspora #aae #dna #genetics #AfricanAncestryExperience #africa #genealogy

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

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

─────────────────────

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

─────────────────────

WHAT ARE MOVIE GENRES

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

WHERE DO MOVIE GENRES COME FROM

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

FILM GENRES AND HOLLYWOOD

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

FILM GENRES AND THEIR CONVENTIONS

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

SUBVERTING FILM GENRES

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

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


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“Down to Earth” - Peter Gabriel
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“Doc Returns” - Alan Silvestri
“Salome” - Makeup and Vanity Set

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