Pixar's Motto In a world that is obsessed with preventing errors and perfection, perhaps it's ironic that despite 11 straight blockbuster movies, Pixar cofounder and President Ed Catmull describes Pixar's creative process as "going from suck to nonsuck." That's because Catmull and Pixar's directors think it's better to fix problems than to prevent errors. "My strategy has always been: be wrong as fast as we can," says Andrew Stanton, Director of Finding Nemo and WALL-E, "Which basically means, we're gonna screw up, let's just admit that. Let's not be afraid of that." We can all work this way more often. So, for instance, Pixar does not begin new movies with a script. People at Pixar describe storyboards as the "hand-drawn comic book version" of a movie, a blueprint for the characters and actions. They must persist. "Every time we show a film for the first time, it sucks," Catmull will say. What we see is not effortless genius. Pixar's culture is defined by a pursuit of excellence and quality.
Cinematography Cinematography (from Greek: κίνημα, kinema "movements" and γράφειν, graphein "to record") is the science or art of motion picture photography by recording light or other electromagnetic radiation, either electronically by means of an image sensor, or chemically by means of a light-sensitive material such as film stock.[1] Cinematography is employed in many fields of science and business as well as its more direct uses for recreational purposes and mass communication. §Etymology[edit] The word "cinematography" was created from the Greek roots κίνημα (kinema) i.e "motion" and γραφή (graphé) "representation by means of lines" or "drawing", together meaning drawing motion. §History[edit] §Precursors[edit] Muybridge sequence of a horse galloping In the 1830s, moving images were produced on revolving drums and disks, with independent invention by Simon von Stampfer (Stroboscope) in Austria, Joseph Plateau (Phenakistoscope) in Belgium and William Horner (zoetrope) in Britain. §Black-and-white[edit]
Continuity editing Continuity editing is the predominant style of film editing and video editing in the post-production process of filmmaking of narrative films and television programs. The purpose of continuity editing is to smooth over the inherent discontinuity of the editing process and to establish a logical coherence between shots. Common techniques of continuity editing[edit] Continuity editing can be divided into two categories: temporal continuity and spatial continuity. An ellipsis is an apparent break in natural time continuity as it is implied in the film's story. Diegetic sound is that which is to have actually occurred within the story during the action being viewed. Match on action technique can preserve temporal continuity where there is a uniform, unrepeated physical motion or change within a passage. The montage technique is one that implies no real temporal continuity whatsoever. Just as important as temporal continuity to overall continuity of a film is spatial continuity.
Movie Guide | Anime Movie Guide Movie Count: 63 Do you have feedback, questions, movie suggestions or review copy offers? You can contact us at contact@animemovieguide.com *protected email* I’ve spent more time than I care to think about watching anime movies in my life thus far. I’ve seen both astoundingly spectacular and horrifically terrible anime movies. To ease the navigation of this guide, here are some anchor links to take you straight to the individual studios: Studio Ghibli | Studio Madhouse | Katsuhiro Otomo | Production I.G. | Makoto Shinkai Shinji Aramaki | Fumihiko Sori | Keiichi Hara | A-1 | Tin House | Studio 4°C | Bones | Brain’s Base Gainax | Shaft | AIT | Square Enix | Gonzo Pre-Ghibli Studio Ghibli was officially formed in 1985. Hayao Miyazaki Lupin III: Castle of Cagliostro (1979) Rupan Sansei: Kariosutoro no Shiro (ルパン三世 カリオストロの城) A random anime-series film that just so happens to have been co-written and directed by Hayao Miyazaki. Isao Takahata Gauche the Cellist (1982) Sero Hiki no Goushu (セロ弾きのゴーシュ)
Visual effects In filmmaking, visual effects (abbreviated VFX) are the processes by which imagery is created and/or manipulated outside the context of a live action shot. Visual effects involve the integration of live-action footage and generated imagery to create environments which look realistic, but would be dangerous, expensive, impractical, or simply impossible to capture on film. Visual effects using computer generated imagery has recently become accessible to the independent filmmaker with the introduction of affordable and easy-to-use animation and compositing software. §Timing[edit] Visual effects are often are often integral to a movie's story and appeal. §Categories[edit] Visual effects may be divided into at least four categories: §Types[edit] VFX can be categorized into: §See also[edit] §Further reading[edit] The VES Handbook of Visual Effects: Industry Standard VFX Practices and Procedures, Jeffrey A. §External links[edit]
The Grammar of TV and Film Zoom. In zooming in the camera does not move; the lens is focussed down from a long-shot to a close-up whilst the picture is still being shown. The subject is magnified, and attention is concentrated on details previously invisible as the shot tightens (contrast tracking). It may be used to surprise the viewer. Following pan. Surveying pan. Tilt. Crab. Tracking (dollying). Hand-held camera. Process shot. Editing Techniques Cut. There is always a reason for a cut, and you should ask yourself what the reason is. Matched cut. continuity of direction; completed action;* a similar centre of attention in the frame; a one-step change of shot size (e.g. long to medium); a change of angle (conventionally at least 30 degrees). *The cut is usually made on an action (for example, a person begins to turn towards a door in one shot; the next shot, taken from the doorway, catches him completing the turn). Jump cut. Motivated cut. Cutting rate. Cutting rhythm. Cross-cut. Cutaway/cutaway shot (CA).
Vidéo-jockey Un article de Wikipédia, l'encyclopédie libre. Exemple de prestation de Vjing. Un vidéo-jockey (anglicisme), abrégé sous le sigle VJ, est une personne qui est à l'origine d'une animation visuelle projetée sans plus d'indications sur les techniques utilisées ou les choix graphiques effectués. Le VJing est un terme large qui désigne la performance visuelle en temps réel. Les caractéristiques du VJing sont la création ou la manipulation de l'image en temps réel via la médiation technologique et en direction d'un public, en synchronisation avec la musique. Dans les pays anglophones, le terme a été popularisé par MTV qui utilisait le terme de VJ pour désigner la personne qui animait et présentait les diffusions de clips vidéo, mais ses origines datent des clubs new-yorkais des années 70[1],[2]. Le sigle VJ vient de la contraction du mot latin « video » (« je vois ») et de l'anglais « jockey » (conduire, manœuvrer), s'inspirant ainsi du terme DJ, propre à la musique.
Film Terms Glossary - Dictionary Film Terms Glossary: Oftentimes, film-making terms are not clearly defined for the average person. In order to be knowledgeable about the movie-making art form and the techniques of cinema, one must understand the fundamental vocabulary and language of film studies. Therefore, some of the most basic and common terms are defined in this compendium for reference. Simple definitions are provided for often complex terms as a baseline for media literacy. Illustrations and examples from films are provided with many of the terms, to help describe them more fully. Tips for Critically Viewing Films is also provided by this site. This is not a complete collection of all film-making terms, because so many of them are too obscure or technical to be included. The multiple areas of film-making included within this fairly comprehensive glossary are:
Blocking (stage) In contemporary theatre, the director usually determines blocking during rehearsal, telling actors where they should move for the proper dramatic effect, ensure sight lines for the audience and work with the lighting design of the scene. It is especially important for the stage manager to note the actors' positions, as a director is not usually present for each performance of a play and it becomes the stage manager's job to ensure that actors follow the assigned blocking from night to night.[3] By extension, the term is sometimes used in the context of cinema to speak of the arrangement of actors in the frame. House left/right are from the audience's perspective The stage itself has been given named areas to facilitate blocking.[4] In France, stage left is referred to as côté cour (court side). Jump up ^ Novak, Elaine Adams; Novak, Deborah (1996).