Camera Angles Camera angles and movements combine to create a sequence of images, just as words, word order and punctuation combine to make the meaning of a sentence. You need a straightforward set of key terms to describe them. Describing Shots When describing camera angles, or creating them yourself, you have to think about three important factors — The FRAMING or the LENGTH of shot — The ANGLE of the shot — If there is any MOVEMENT involved When describing different cinematic shots, different terms are used to indicate the amount of subject matter contained within a frame, how far away the camera is from the subject, and the perspective of the viewer. Framing or Shot Length 1 . Extreme Long Shot This can be taken from as much as a quarter of a mile away, and is generally used as a scene-setting, establishing shot. The extreme long shot on the left is taken from a distance, but denotes a precise location - it might even connote all of the entertainment industry if used as the opening shot in a news story.
Wondrus 22 consejos de Pixar para contar una buena historia Emma Coats escribe y dirige películas y recibió una de las mejores formas de preparación que existen en el mundo para hacer esa tarea bien. Fue artista de historias (sí, es un título profesional) en Pixar, un título que me parece encantador y poético para describir la función de crear el storyboard de una producción. Historias que hacen magia en 22 pasos (y algo de trabajo) Emma trabajó durante la producción de Brave y Up y estos son sus 22 consejos para contar un buena historia: 1. ¿Cuál es tu historia favorita de Pixar? Complementa con el poder del lenguaje simple, el papel de los efectos visuales y el arte de la fantasía en Disney. [Original en inglés] mental_floss Blog » 5 Film Transitions worth Knowing You see them every day, on TV shows, the news, movies, but how well do you know the most oft-used film transitions? Here are the big five: 1. The Dissolve The dissolve is an editing technique where one clip seems to dissolve, or fade into the next. 2. This transition is the opposite of the dissolve in that it draws attention to itself. The Star Wars films are chock-full of attention-grabbing wipes. 3. As the name implies, in the basic cutaway, the filmmaker is moving from the action to something else, and then coming back to the action. 4. The L Cut, also called a split edit, is a very cool technique whose name dates back to the old analog film days. The audio track on a strip of celluloid film runs along the side, near the sprocket holes. Of course, with digital editing, one doesn't need to physically cut anything anymore, but the transition is still widely used, and the name has remained the same. 5.
The 15-Minute Daily Habit That Will Change Your Career Growing up in rural Circleville, Ohio, in the '80s and '90s, Austin Kleon couldn't have known how the social networks of the future would enable him to easily connect to the writers and artists who were his heroes at the time. But the artist, recent SXSW keynote speaker, and author of Show Your Work! 10 Ways to Share Your Creativity and Get Discovered, was still eager for ways to interact with those worlds. At 13, he wrote to punk collage artist Winston Smith, who responded with a 14-page letter, the first exchange in years of correspondence. Last year, Smith was doing an open studio in San Francisco, and the two met in person--this time as peers. "The best thing about putting your work out in the world is that sometimes you get lucky and get to meet your heroes," says Kleon. The punk scene of which Smith was a part has influenced Kleon's work in other ways. "The technology is really important, and we all have tools that turn us into media producers now," he says.
6 Filmmaking Tips From Martin Scorsese In his review of Mean Streets, Roger Ebert claimed that Martin Scorsese had the potential to become the American Fellini in ten years. It probably didn’t really take that long. Scorsese is a living library of film, but he isn’t a dusty repository of knowledge. Over the course of his career, he’s created indelible works bursting with anger, violence, fragility, care, and wonder. Never Stop Looking For Inspiration (Because You’re Gonna Need It) Scorsese: One night I was watching late-night films on . . . Spike Lee: So you’re telling me that Martin Scorsese, the father of cinema, needs inspiration to make more films? Scorsese: Well, it gets you excited again. That’s from a conversation in “Interview” magazine between Spike Lee and Martin Scorsese where an important distinction is made. You’re Never Going to Get the Money You Want “I think there’s only one or two films where I’ve had all the financial support I needed. Your Personal Story Matters Watch These 85 Movies (and Then Watch More)
Vodkaster : Take a Movie Shot - Extraits et scènes de films Entendiendo la fotografía en el cine y sus funciones (IV) La fotografía en el cine es un aspecto que suele pasársele por alto a la gran mayoría del público, pero sin embargo ésta juega un papel tan fundamental en una película como puede hacerlo un actor. La cinematografía puede ayudar mucho a un film si los actores son mediocres, un actor puede ayudar a una mala cinematografía si ésta es mediocre, y si juntamos una gran fotografía con unos grandes actores, obtenemos una película que seguro va a llevarse unas cuantas buenas críticas. Tal vez muchos de ustedes sabrán diferenciar con claridad una buena de una mala fotografía, pero a mí me han hecho falta cuatro años estudiando cine para ser capaz de saber si una película presenta una estética atractiva o no. Esta diferenciación yo la he conseguido viciando la mirada para poder ver más allá de lo que cuenta la película, analizándola a la vez que la visionas. Este vicio no se encuentra únicamente en la cinematografía.
Visually Exceptional Films, B&W 4:3 list Being a very early feature lenght film, L'Inferno has very little moving camera, actually just a few pans and that's all. But what makes this such a visually striking work are the amazing sets and visions of hell. Now I just can't imagine hell as anything different than a place with wide open spaces, rivers and lakes and rocky terrain. The Periodic Table Of How Kids Play It used to be that play was just play. There wasn’t a whole lot to say about it. Kids climbed trees, hit balls, and did experiments on insects. But by the mid-20th century, children’s play was being extensively studied, classified, and taxonomied by pioneering psychologists such as Melanie Klein and D.W. Winnicott. Laura Richardson, who spent 10 years at Frog Design, has boiled it all down into one playful infographic: The Periodic Table of 21st Century Play. There are 11 play categories, from morphing to questing and from stretching to creating, and subsets of activities in each. In an era of soul-crushing standardized testing of younger and younger kids, it's critical to import the notion that play helps kids find their inner creativity and become curious and analytical beings. Each column in the graphic is topped with a plus sign, symbolizing that the chart is ever-evolving, and that kids and parents alike should feel free to add their own ideas. [Image: Toys via Shutterstock]
Of Metaphors and Purpose: Mike Nichols interview | Film Comment | Film Society of Lincoln Center Mike Nichols talks about his collaborations with Elaine May, his first directing experiences, and writing How did you start out in your career? I sort of backed into it. That is to say, I did some plays in college, and then I became part of a theater group that Paul Sills started in Chicago called Playwrights Theater. [Yet] I never thought I would be an actor, because when I would occasionally try to cast myself in something, I couldn't; I didn't ever find a part that fit me. How did you meet and what was your impression of her? We met at the University of Chicago. We became very close, it's a very difficult thing to describe, but what was true then is true now in our most recent version of collaboration, in which she writes the script and I direct it, in that what one of us doesn't think of the other does, and we define the things that are involved in drama and movies in a similar way. How did you make the transition from performing to directing? Why were you so successful together?
[E-teach] Bend it like Beckham -