CineFix has a breakdown of 5 great moments in camera movement. NoFilmSchool evaluates these movement types in even more detail, and explains how each help to tell a story.
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CineFix has a breakdown of 5 great moments in camera movement. NoFilmSchool evaluates these movement types in even more detail, and explains how each help to tell a story.
Every once in awhile, I think about this short film by Kenny Laubbacher about Jed Jenkins, who quit a job he loved to bike around the world.
Today is one of those days it came to mind, as I’m considering taking some big risks in my life in the near future.
I hope it inspires you as it has me.
I love Burger Fiction’s Oscar-related montages, and their latest is no different: a chronicle of every film that’s ever won the Academy Award for Best Cinematography, starting with 1927’s A Song of Two Humans.
For more, check out their montage of every Best Visual Effects Academy Award winner ever.
Technology has changed the way we interact and connect with our friends and loved ones. It’s also changed the way we go to the bathroom. In Flushed, a delightful short film by Grace June, a speechless protagonist overshares her porcelain activities with unpredictable results.
(via Vimeo Staff Picks)
Matt Singer has an interesting piece at ScreenCrush about how ‘Han Shot First’ changed the course of Star Wars:
Whatever the motivation, the Han Solo [Lucas] conceived would not have shot Greedo first. The Han Solo that appeared in 1977’s Star Wars, however, did shoot Greedo before Greedo shot him, or at least that’s how it appeared to millions of viewers for 20 years (and in the original screenplay, as best I can tell). Both sides of this debate, then, have the same basic argument: Han Solo, a fictional character, wouldn’t do what he appears to do onscreen. They just disagree about which behavior is questionable.
That’s what makes “Han Shot First” one of the most fascinating pop cultural phenomenons of the late 20th and early 21st centuries. It seemed to become the test case for many subsequent battles over who should control a work of art — its creator or its audience. It’s ultimately not even about Han Solo. It’s about authorship.
Changing the film to have Greedo shoot first certainly undoes a lot of the characterization of Han that Lucas himself ostensibly established: that he was a carefree rogue who only gave a crap about himself, before discovering love and loyalty during the events of A New Hope. It’s a great arc and having Han simply reacting to Greedo somewhat undercuts it.
But beyond that, my problems with Greedo shooting first are far more basic. Like many of the other changes in the Star Wars Special Editions, it just looks awful. Just look at the original Special Edition:
It is totally unconvincing and has not aged well. The visual effects for this scene were made somewhat more palatable for the Blu-Ray by shortening the length of time between shots, but not really.
Last night at the SAG Awards, Mahershali Ali gave a subtle, moving speech about recognizing and appreciating each other’s differences.
Here’s the full list of awards.
Published a few years ago, but just discovered by me: Plot Point productions put together this beautiful montage of shots from TV shows and films that use the “back-to-the-camera” shot. It’s a commonly used but often striking way for the director to immerse you into the POV of a character.
Thanks to Brian Mitchell in the Slackfilmcast for sharing this.
On January 18, TMZ leaked incredibly damaging footage of the making of the upcoming wide release film, A Dog’s Purpose. It shows a couple of clips stitched together: a dog being forced into raging waters, and then later, that dog submerged while rescuers rush to get him out.
In a column on THR, producer and dog lover Gavin Polone tries to explain the circumstances that led to this situation:
Before the first real take, the handlers were asked to change the start point of the dog from the left side, where he had rehearsed, to the right side. That, evidentially, is what caused him to be spooked. When the dog didn’t want to do the scene from the new position, they cut, though not soon enough, and then went back to the original position. The dog was comfortable and went in on his own and they shot the scene. The TMZ video only shows the unfinished take of when the dog was on the right side. What is clear from viewing all the footage was that the dog was NEVER forced into the water.
From a front angle, when they shot the scene, you can see that there is a calmer path in the artificial water turbulence for the dog to move through. This is not visible in the TMZ video. You can also see, at the end of the scene, the dog going underwater for four seconds, which never should have happened, and then the diver and handlers lifting the dog out of the pool. The dog then shook off and trotted around the pool, unharmed and unfazed. They only did one take of the full scene and then ended for the day. TMZ’s edited version gives the impression that the dog was thrown in and eventually drowned, since the two parts seem to be connected. You never see him pulled out and OK. This is highly misleading.
Polone does not excuse everyone’s behavior — he believes things should not have happened as they did, and he calls out the AHA and PETA for being not up to the task and for being uncooperative, respectively. But there is more to the story that the tape does not show.
Polone also speculates that the videotape was held until this month to be sold to TMZ for the highest value possible. This part is highly plausible to me: The tape’s timing and the way it is edited were done to have maximum damage to the release of the film. That doesn’t just happen by accident.