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 Artlist ► http://bit.ly/2Ttdh8d
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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Facebook ►► https://www.facebook.com/studiobinderapp
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#black #africa #goblack2africa #africanamerican #panafricanisme #blackhistory #wodemaya

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

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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

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♬ SONGS USED:

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

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

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

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

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

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

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Music by 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! —

Instagram ►► https://www.instagram.com/studiobinder
Facebook ►► https://www.facebook.com/studiobinderapp
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We’re back! Our inaugural Africa Ancestry Family Reunion trip to Ghana was a success! A few of our travelers joined us to share their reflections on this unprecedented trip.

"This was a trip of a lifetime!" - Pamela Jones

"I am an Akan & Ashanti from Ghana, raised in America." - Aroll Jones

7:00 Introducing our African Ancestry Ghana Family Reunion Fam!

12:30 The impact of getting your actual ethnic group - not just a bunch of percentages.

14:46 Why this African Ancestry family member went on the African Ancestry Family Reunion trip to Ghana though it was not the country where she traced her DNA.

16:45 Family member, Aroll Jones, shares how his vision of visiting Kumasi was a dream come true.

24:00 Ayotunde shares how going thru the dungeons, invoking the ancestors brought out such emotions and tears while visiting the Door of Return.

27:30 Why Reggie Keys felt a sense of healing while touring the Cape Coast Dungeon.

29:28 Why Aroll Jones believes the powerful rains proved the ancestors were pleased with their return.

32:54 Our travelers reflect on their historic naming ceremony by African Ancestry's own, newly enstooled chief, Diallo Sumbry aka Nana One - and why the Black American experience and acceptance is just as important to the connection story.

53:05 Why you should consider an African Ancestry Family Reunion Trip.

Don't miss it!

Ready to fill the Africa Void and learn your ancestry?
Take Quiz:👉🏽 https://africanancestry.com/tribe

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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 #ghana #AAFR #africa #genetics #dna

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

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

─────────────────────

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

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WHAT ARE MOVIE GENRES

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

WHERE DO MOVIE GENRES COME FROM

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

FILM GENRES AND HOLLYWOOD

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

FILM GENRES AND THEIR CONVENTIONS

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

SUBVERTING FILM GENRES

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

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


#FilmTheory #VideoEssay #Filmmaking

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♬ SONGS USED:

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

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

─────────────────────

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

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

— Join us on Social Media! —

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

Join us at the Atlanta Family Reunion during the African Ancestry World Tour on 9/2/23. Register at https://bit.ly/atlanta20years.

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

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

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

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

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

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

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

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

So start watching and learn more about film blocking today!

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The films in our video:

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

The music::

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

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

Looking for an awesome tool to manage your productions?

StudioBinder is a powerful and intuitive project management solution for video creatives; create shooting schedules, breakdowns, production calendars, shot lists, storyboards, call sheets and more.

Give StudioBinder a try today and see the difference: https://studiobinder.com/pricing

––– Join us on Social Media! –––
Instagram ►► https://www.instagram.com/studiobinder
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LinkedIn ►► https://www.linkedin.com/company/studio-binder

The Dolly Zoom Effect Explained — a guide to cinema’s most unique and mind-bending camera movement, including how to enhance the Vertigo effect with lighting, camera angle, and sound design.

The Ultimate Guide to the Dolly Zoom ►► https://bit.ly/ug-dz
The Ultimate Guide to Depth of Field ►► https://bit.ly/ug-df
The Ultimate Guide to Shot Sizes ►► https://bit.ly/ug-ss
What is Aperture? ►► https://bit.ly/wi-at
StudioBinder Blog ►► http://bit.ly/sb-bl

─────────────────────

Special thanks to:
UglyMcGregor ►► https://bit.ly/um-dz

─────────────────────

Chapters:
00:00 - Introduction to Dolly Zoom Shots in Film
00:57 - What is a Dolly Zoom?
04:09 - Speed and Focal Length
06:59 - Background Considerations
08:35 - Creative Examples
10:58 - Dolly Zoom in Guardians of the Galaxy Vol. 2
11:47 - Dolly Zoom in Raging Bull
13:17 - Takeaways

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THE DOLLY ZOOM EFFECT EXPLAINED

You know that moment in Jaws when Chief Brody sees the shark attack happening — the background stretches behind him as if reality itself is breaking apart. This intense and mind-bending shot is called a dolly zoom and it has been used for decades to capture moments like this. But how does the dolly zoom effect work and how many ways can it be used? In the video, we’ll explain the mechanics of the shot, the applications for it, and how to enhance it with lighting, camera angle, and sound design.

WHAT IS THE DOLLY ZOOM EFFECT

As Alfred Hitchcock explains, the idea for the dolly zoom goes back to one night when he was drunk. He described the sensation as “everything going far away from me” and an idea was born to recreate that experience in a film. The goal was to keep the subject fixed in the frame while the background stretched behind them. Hitchcock first wanted to use the shot in Rebecca when Joan Fontaine’s character faints but he couldn’t figure out how to do it. Nearly two decades later, when Hitchcock was making his classic Vertigo. It was a cameraman on the film named Irmin Roberts who found the solution — to zoom out while the dolly pushed in.

WHEN TO USE THE DOLLY ZOOM EFFECT

The dolly zoom effect can really amp up a moment like in Jaws, or it can work more subtly in the background to slowly crank up the tension. It is perfect for any sort of sudden or dramatic emotional or tonal shift — for positive and negative emotions alike. The dolly zoom effect is great for moments of fear, disorientation, infatuation, panic, revelation, etc. It can be the ideal way to accent and emphasize any important character moment.

HOW TO ENHANCE THE VERTIGO EFFECT

The textbook dolly zoom maneuver is visually compelling on its own but there are also a number of ways to enhance the Vertigo effect. For example, changing the lighting during the shot — like in The Lion King when Simba panics before the oncoming stampede. Sound design is also often paired with the camera movement as additional sensory input. For example, in Guardians of the Galaxy Vol. 2, when Peter is told how his mother really died, the soundtrack introduces a descending bass note, while high strings rise in the mix. The two complementary sounds nicely parallel the complementary movements of the lens and the camera.

The dolly zoom effect is relatively simple and it certainly looks cool. But the filmmakers that have been most successful using the Vertigo effect only when necessary to enhance a particular moment in a way that is beyond our normal visual experience.


#FilmTheory #VideoEssay #Filmmaking

─────────────────────

♬ SONGS USED:

“Dark Night” - The Blasters
“Major Tom (Coming Home)” - Peter Schilling
“The Wanderer” - Makeup and Vanity Set
“Quantum IV” - Makeup and Vanity Set
“Tannhäuser Gate” - Makeup and Vanity Set
“Funeral March of a Marionette” - Charles Gounod and Lyn Murray
“Prelude and Rooftop” - Bernard Herrmann
“Stuck Behind a Train” - Makeup and Vanity Set
“Layla” - Derek and the Dominos
“Dinner Rush” - Michael Giacchino
“Le Vent Tourne” - Sens Unik
“Girl You’ll Be a Woman Soon” - Urge Overkill
“Eyes Without A Face” - Billy Idol
“Main Titles” - Theodore Shapiro
“The Descent” - David Julyan
“Meet Maguire” - Thomas Newman
“Needles and Dalgona” - PARK MIN JU
“Kid Vs. Herod” - Alan Silvestri
“Tina” - Randy Eelman
“Showtime, A Holes” - Tyler Bates
“Cavalleria Rusticana Intermezzo” - William Bowles
“Centaur Skin” - Tobacco
“Star Trek: The Next Generation Theme” - Jerry Goldsmith

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

─────────────────────

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

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

— Join us on Social Media! —

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

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

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

─────────────────────

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

─────────────────────

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

─────────────────────

TERMINATOR 2 BEHIND THE SCENES

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

THE MAKING OF TERMINATOR 2 — CINEMATOGRAPHY

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

TERMINATOR 2 SPECIAL EFFECTS

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

TERMINATOR 2 VISUAL EFFECTS

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

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


#FilmTheory #VideoEssay #Filmmaking

─────────────────────

♬ SONGS USED:

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

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

─────────────────────

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

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

— Join us on Social Media! —

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

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

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

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

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

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

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

#johnwick #filmmaking #screenwriting

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The 180 Degree Rule in Film ►► http://bit.ly/180-Degree-Rule-in-Film

The 180 degree line is a rule used in filmmaking that helps you maintain a constant orientation during your scenes. That said, there are ways you can break the 180 degree rule, and ways that you can bend the 180 degree rule.

Our video breaks down how to follow the 180 degree rule, how to break the 180 degree rule, and bend the 180 degree rule to achieve maximum effectiveness from your scene.

Breaking the 180 degree rule can also be called crossing the line or jumping the line. The line you draw connects two actors in a scene, and once you’ve established your camera placement on one side of the line, you have now decided which 180 degrees you will have to place your subsequent camera setups.

You do this so that your viewer can keep their orientation, and avoid spatial confusion.

But what if you break the line?

We show specific examples of directors and films that follow the 180 degree rule, break the 180 degree rule, and bend the 180 degree rule so that you understand perfectly the different effects each has on a viewer.

When you finish this video, you will understand why you need to follow the 180 degree rule in most situations, and know exactly when you should break it or bend it.

The end result: You will understand the 180 degree rule better than you did before - and how to command your visuals.

#180degreefilmrule #jumpingtheline #180degreefilmrule

--

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Generate script sides for your production easier than ever. Learn more here: http://bit.ly/2OM8SYG

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

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

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

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


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

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

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

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

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

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

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

#miseenscene #theboysamazon #videoessay


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

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

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

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Edited by MIKE STEELE

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

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

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

STAR WARS MOVIES SPECIAL EFFECTS

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

STAR WARS VISUAL EFFECTS

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

STAR WARS SFX

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

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


#FilmTheory #VideoEssay #Filmmaking

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♬ SONGS USED:

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

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

─────────────────────

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

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

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Which ethnic group do you have the most in common with?
Take Quiz:👉🏽 https://africanancestry.com/tribe

In this special Father's Day African Ancestry reveal, Chairman Fred Hampton, Jr., son of the Black Panther Party's Illinois chapter's leader and organizer, Chairman Fred Hampton Sr., and Akua Njeri, writer and activist, learned about the ancestry of his maternal and paternal lines, live on The African Ancestry Experience!

3:58 Why Chairman Fred feels fortunate to have come from the tree of two freedom fighters.

6:47 Former Black Panther, activist, Mother Akua Njeri, shares why The Black Panther message inspired her activism.

11:44 How Mother Akua Njeri and Chairman Fred feel about finding out her maternal ancestral lineage.

18:25 Dr. Gina reminds us that our ancestors are always with us and within us as every cell in our bodies.

21:13 Mother Akua's reveal...get your tissues.

28:52 Why Chairman Fred believes we all need an objective analysis of history and why it's embarrassing being oppressed.

37:56 Chairman Fred and Mother Akua react to their results...get those tissues again.

Watch the award-winning Judas and the Black Messiah to learn more about the Black Panther's Movement.

Don't miss it!

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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 #blackpanther #fathersday #juneteenth

What is a protagonist — a rundown of a story’s main character, the various types, their characteristics and inspiration for how to write a great protagonist.

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

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Chapters:
00:00 - Introduction to Protagonists
00:48 - Protagonist Definition & History
02:42 - Hero Protagonist
04:19 - Non-Traditional Protagonists
08:55 - Multiple Protagonists
11:56 - Takeaways

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WHAT IS A PROTAGONIST IN A STORY

Most people understand that the protagonist is the main character in a story. But what is a protagonist, really? Are there special qualities they possess? And what happens if there are multiple protagonists? In this video, we’ll answer these questions, get into a little history of where the protagonist came from, their various types, and how writers can approach how to write a great protagonist.

HOW DO WE DEFINE PROTAGONIST

The protagonist is the lead character in a narrative. Typically, they have a goal they pursue, they make choices to advance the plot, and they will have some sort of character arc. If we go back to Ancient Greek theatre, we can see how the protagonist emerged. At the time, poems and tragedies were performed for an audience by a masked chorus (often 50 people) singing or speaking in unison. But then a poet named Thespis broke with tradition by having one actor, separate from the chorus, perform all of the parts of the story by simply switching masks. This is where we get the term “protagonist” which translates to “first actor.”

TYPES OF PROTAGONISTS

The most common and traditional type of protagonist is the hero. Originally, these were noble-born, pre-destined characters who were also strong, brave, and righteous. Over time, we see heroes with varying degrees of these characteristics.

Beyond the traditional hero, there are anti-heroes, tragic heros, passive protagonists, and villain protagonists. Anti-heroes lack heroic qualities but they still pursue a righteous cause. Tragic heroes are just like traditional heroes except they have a fatal flaw in their character that leads to their downfall. Passive protagonists are still the main character but are forced into the story rather than making their own active choices. And villain protagonists are exactly that — villains who are the central figure in the story.

MULTIPLE PROTAGONISTS

But what about when there is more than one protagonist? Romantic films, both comedies and dramas, often feature two protagonists with equal weight in the story. There are also secondary and tertiary protagonists called deuteragonists and tritagonists, which are still main characters but fulfill more supporting roles. For example, in the Lord of the Rings, Frodo is the protagonist, Sam, Gandalf, and Aragorn are deuteragonists, and the rest of the fellowship are tritagonists. Finally, there are situations when two characters split the protagonist role among themselves. For example, in The Shawshank Redemption, it is Andy’s story and he is the one driving the plot forward, but we see all of this through Red’s eyes, and it is he who has the character arc.

Writers have many options when it comes to writing a strong protagonist. As we can see, there is a perfect option or combination of options for any story.


#FilmTheory #VideoEssay #Filmmaking

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♬ SONGS USED:

"Density Wave" - Aviad Zinemanas
"Yes I Am (Instrumental)" - Zach Sorgen
"Morning Sunbeams" - Yehezkel Raz
"Distant Worlds" - Theatre of Delays
"Somewhere" - Daniele Musto
"Main Title / Trinity Infinity" - Don Davis
"Day One" - Hans Zimmer
"Full Access" - Jimmy Svensson
"Cosmos" - Theatre of Delays
"Dark Blood" - Jimmy Svensson
"Battle Without Honor Or Humanity" - Tomoyasu Hotei
"Palpatine's Teachings" - John Williams
"Gatsby Believed In the Green Light' - Craig Armstrong
"Prophesy" - Bobby Krlic
"Main Title (Terminator 2 Theme)" - Brad Fiedel
"Staring Into The Abyss" - 2050
"Last But Not Least (Instrumental)" - Chelsea McGough
"Odd Numbers" - Curtis Cole
"The Council of Elrond (feat. Aniron) (Theme for Aragorn and Arwen)" - Howard Shore
"War Banner (Instrumental)" - Cody Martin
"Assembly Line Dreams" - Ostin Drais
"Brooks Was Here" - Thomas Newman
"State Lines (Instrumental Version)" - Aaron Kellim
"Heroes" - David Bowie

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

─────────────────────

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