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Why Do Older Movies Look Faster? When we think about old, silent films, we’re likely to picture the choppy, fast-paced movements of Charlie Chaplin or Buster Keaton, or perhaps the newsreel footage of Babe Ruth hitting a home run and seemingly zipping around the bases at 40 miles per hour. As talented as these individuals were, they weren’t capable of moving at speeds far beyond the range of normal people. So why do they appear that way on film? Advertisement Advertisement Film Only Provides the Illusion of Movement To answer this question, we need to go back to some of the basics of filmmaking. Throughout the history of cinema, movie cameras have never been able to faithfully capture real-life movement. Rather, they record a series of still images in rapid succession, and replay them at speeds fast enough to trick the human mind into perceiving movement.The number of individual images (or frames) displayed in one second of film is known as the frame rate, measured in frames per second (fps). Thomas Edison, who patented (but didn’t invent) the movie camera, noted that film needed to be shown at a speed of at least 46 fps to provide the illusion of movement. But in the early days of cinema, this proved too pricey to be practical, and some filmmakers found that the visual illusion could be sustained — and expensive celluloid film stock conserved — with frame rates closer to 16 fps, or even as low as 12 fps. While this speed was considered fast enough for a movie camera of that era, it is noticeably slower than the 24 fps rate that later became commonplace for both filming and projecting. And when old footage filmed at 16 fps or lower is accelerated for replaying at modern speeds, it will make the objects on screen move noticeably faster.

DON'T BE A FILM Illiterate, here's why VisualLiteracy is important for filmmakers Film language is ESSENTIAL. Its not optional. Cos i dont want to leave my house, pay money to sit in a room with strangers. Only to watch something that looks like a 90 minute skit, a cheap sitcom or a daytime soap opera. Devoid of any cinematic language or artistic intent, a director making visual story decisions. Just 90 minutes coverage of people talking. NAH. That ain't right. I can get that at home on YouTube. Heck, i have seen Vlogs and Ads with more cinematic language than some of what has been released in the cinema Hitchcock called that sort of thing "photographs of people talking that has nothing to do with the art of cinema" 12 Angry Men(1957) is dialogue heavy and contained but is visually dynamic and uses film language to evoke emotions and explore character. The opening d scene of Inglorious Basterds(2008) on the farm is dialogue heavy but the visual choice of the director show the power dynamics & build in suspense. Dialogue that is just coverage (no intentional,motivated visual choices) does not require a Director,just a shot list an AD can handle with a camera operator. Directors, Cinematographers & Cinephiles, What are you thoughts on Visual storytelling & Film language? How can new and young filmmakers learn film language?

How to Make a Micro-Budget Thriller Like 'You'll Never Find Me' https://ift.tt/7HPpXIo Written by Josiah Allen and Indianna Bell After making a series of short films, myself and Josiah were itching to try our hand at a feature, but we knew that we’d have very little money to do it. We decided to follow in the footsteps of filmmakers we admire like Mike Flanagan and Trey Edward-Shultz and embark on the perilous journey of making a largely self-financed micro-budget. From past experiences on shorts, we knew that our best chance of pulling it off relied on crafting a script around who and what we had access to. We had previously worked with two brilliant actors, Brendan Rock and Jordan Cowan, and we knew from the get-go that we wanted them involved. We were surrounded by super talented crew who we had met at university and on sets, creatives who had accrued so much experience on other projects but may not have yet had the chance to be a head of department. You'll Never Find Me | Official Trailer | Coming to Shudder www.youtube.com To keep the concept achievable, we set ourselves a challenge; to write something set in a single location with two actors. A single location means saving time on shoot days—no laborious packing and unpacking every morning and evening. Extra time during shoot days means a shorter overall shoot, which ultimately means money saved. We decided to set our story in a mobile home, one that our art department built in a studio. Whilst building and shooting in a studio doesn’t immediately scream "micro-budget," it was one of our best decisions! A studio set means creating a fully controllable environment, one that won’t be affected by bad weather, noisy birds or cranky neighbors. It allowed our cinematographer Maxx Corkindale to have a say in all aspects of the design of the film, from the texture of the walls to the color and intensity of the ‘moonlight’ through the curtains. It also allowed us to shoot a film that is entirely set during the night during daylight hours- which certainly saved the sanity of the crew! All of these seemingly clever decisions that we made early on that hugely benefited the budget and shooting process came to be our biggest challenges in post production. We had not anticipated how difficult it would be to edit a film that is set in one location and takes place in continuous time. Suddenly, all of the typical tricks and tools that you have when editing a film were unavailable to us. We couldn’t jump time or cut a scene to finesse the pacing. The editing process became like finely knitting a jumper, we had to be careful that pulling a thread here or there wouldn’t completely unravel somewhere else. In the end making a micro-budget was the ultimate film school. It’s an exercise in creative restraint, budgeting and how long you can hold onto your sanity for. You can watch You'll Never Find Me now on Shudder via No Film School https://ift.tt/dmDz6BS March 21, 2024 at 12:03PM

You can have a successful career starting with a low/micro budget film. Just like these now famous directors. Quentin Tarantino, My Best Friend's Birthday. Production budget $5,000(1987) *This movie was never completed by the way because a fire destroyed much of the footage. Damien Chazelle, Guy and a Mandolin on a Park Bench Production budget $60,000 (2009) Christopher Nolan, Following Production budget $6,000 (1998) Robert Rodriguez, El Mariachi Production budget of $7,225 (1992) Barry Jenkins, Medicine for Melancholy Production Budget $15,000 (2008) (2nd film, Moonlight Production Budget $1.5 million(2016) and wins Best Picture at Academy Awards) *Thanks to Kim Steele for pointing this example out to me. All these directors also made short films before they made their first feature films. I understand the excitement after making a few short films to want to jump into a feature film and get real money behind it. You want a real budget finally, with some cast you can pay for, and maybe more professional crew. A short film is like running a little pop-up grill on the side of the road and serving lunch. A feature film is like opening and operator a full restaurant. Before making the leap to an investor financed feature film, it is better to get more practice, skill, and logistics under your belt. Make a feature for as little money as possible. Make mistakes, learn a lot, and prepare yourself for your next film in which you will seek private equity. As always, my bonus tip is that you document and share the entire process of making your film on social media, so that you can grow your audience. So that when you do seek investors for your 2nd feature film not only do you have experience making at least one film, but you also have an engaged audience too. Filmmaking is a long slow career. We all know the urge of wanting to get going as fast as possible. It is better to take your time, make smaller less costly mistakes earlier, so that you are ready to take your filmmaking career the next step. What are your thoughts on making your first feature? Have you already done it and have some advice. Or are you working on it right now. I am curious to hear more in the comments.

10 Classic Films You Must Watch as a Filmmaker For any filmmaker, studying the greats of cinema is essential to mastering the craft. Here are 10 classic films that have shaped the history of filmmaking and are must-watches for anyone passionate about cinema: 1. Citizen Kane (1941): Directed by Orson Welles, this film is a masterpiece in narrative structure and cinematography. 2. The Godfather (1972): Francis Ford Coppola’s epic crime saga is a lesson in character development and storytelling. 3. Casablanca (1942): Michael Curtiz’s romantic drama is an enduring classic, blending love, war, and sacrifice. 4. Psycho (1960): Alfred Hitchcock’s horror thriller revolutionized the genre with its suspenseful direction and shocking twists. 5. 2001: A Space Odyssey (1968): Stanley Kubrick’s sci-fi epic is a visual and philosophical journey that continues to influence filmmakers. 6. Gone with the Wind (1939): Victor Fleming’s sweeping historical romance is a monumental achievement in storytelling and production design. 7. Schindler’s List (1993): Steven Spielberg’s harrowing depiction of the Holocaust is a powerful example of historical filmmaking. 8. La Dolce Vita (1960): Federico Fellini’s exploration of modern society and hedonism is a cinematic treasure. 9. Lawrence of Arabia (1962): David Lean’s epic adventure is known for its breathtaking cinematography and grand scale. 10. Sunset Boulevard (1950): Billy Wilder’s noir drama delves into the dark side of Hollywood and fame. These films are not just entertainment; they are textbooks on filmmaking. Study them, learn from them, and let their brilliance inspire your own cinematic journey. Let’s keep the legacy of great filmmaking alive! 🌟 #Filmmaking #ClassicFilms #Cinema #FilmHistory #FilmIndustry #CinematicMasterpieces #Inspiration #ott #film #hollywood #bollywood

As professionals in the film industry, we often dissect various elements that contribute to a successful scene, and one exceptional example is found in the film 'Conclave,' directed by Edward Berger. In a recent discussion, Berger took the opportunity to narrate a pivotal sequence featuring the renowned actor Ralph Fiennes, providing valuable insights that are applicable not only within film but also in broader narrative forms. In this particular scene, Berger showcases his ability to blend visual storytelling with deep character development. The sequence is designed to convey the underlying tension and gravitas surrounding the election of a new pope, which inherently involves high-stakes drama and intricate emotional layers. Berger emphasizes the importance of setting the right atmosphere, which is achieved through meticulous attention to lighting, sound, and framing. Ralph Fiennes’ performance is a masterclass in the balancing act of subtlety and intensity. It’s fascinating to observe how the actor approaches the character, embodying the weight of centuries of tradition and expectation while also revealing the vulnerabilities that make him relatable. The director discusses how each choice made during filming—from dialogue delivery to body language—plays a significant role in portraying the character's internal struggle. Furthermore, Berger illustrates the importance of collaboration in crafting a scene. From the cinematographer’s choices in lens and angles to the production design that creates an authentic backdrop, each contributor adds a unique layer that enriches the viewer's experience. This level of collaboration speaks to a broader lesson in any creative endeavor: great outcomes are often the result of collective effort. For those interested in the mechanics of storytelling, examining Berger's approach alongside Fiennes' performance can yield insights into pacing, emotional resonance, and the meticulous craft of scene construction. It encourages us to reflect on our own projects, considering how we can enhance our narratives through careful planning and collaboration with our team. In sum, 'Conclave' serves not only as a potent film but as a rich case study in the art of filmmaking. As we dissect and analyze such works, we gather perspectives that can inform our own practices, ultimately striving for that level of excellence in our respective fields. Embracing the lessons from industry leaders like Edward Berger could be the key to unlocking our own creative potential. Movies

The 2nd edition of Cine Bazaar is here. It is a platform for young filmmakers ( under 30) to pitch their ideas and raise funds for their films. India is a young country, with a population of 65% under 35. Still, we don't have enough platforms to support young creative minds. Every industry invests in new ideas or R&D, but the world's biggest film industry, India, has yet to invest in young talents. If we don't invest and support young talents soon, we will struggle to remain relevant in the global creative market. CineBazaar is a small initiative to support young filmmakers. We invite the film industry leaders to come forward and support the young filmmakers. In the first edition of Cine Bazaar in 2022, a project development workshop was organized and mentored by Oni Sen. Later, filmmakers pitched their projects to industry leaders. Two shorts, one live-action, and one animation film received full funding from Amadavad Films of Manish Saini. The films are in an advanced stage of production. Four other projects received the Alpavirama Most Promising Project award, and two received Special Mention. Cine Bazaar was India's first platform to support short films and documentaries. This year's call for entry is open. Shortlisted filmmakers can attend a project development workshop and a pitching session during the Alpavirama 2024. A panel of industry leaders will select the most promising projects for Cine Bazaar awards and stand a chance to raise funding for production and distribution. For entries, visit https://lnkd.in/de-HiVu6 Discipline of Film and Video Communication, National Institute of Design

Explore the impact of lighting on film mood with "Exploring the Impact of Harsh Yellow Lighting on Film Mood" on eMonthly News! 🎬💡 Dive into how harsh yellow lighting affects the emotional tone and visual aesthetics of films. Learn about the techniques filmmakers use to manipulate lighting for mood, the psychological effects on audiences, and case studies of movies where yellow lighting plays a pivotal role. Whether you're a film enthusiast, director, or cinematographer, join us in uncovering the powerful influence of lighting on storytelling. #FilmLighting #Cinematography #VisualStorytelling https://lnkd.in/d3fW9Auw

#Moviefiles **Review of "Invisible Film" (USA, 2022)** "Invisible Film," an experimental short by Kostiantyn Mishchenko, is a unique piece that challenges traditional notions of filmmaking and narrative. Spanning just over three minutes, this film defies conventional storytelling by presenting content that remains perpetually hidden, known only to the director himself. Mishchenko, who wore multiple hats in the production—serving as the editor, post-production specialist, colorist, re-recording mixer, writer, director, producer, and production designer—crafts a work that exists more as a conceptual art piece than a conventional film. The decision to keep the film's content and conflict a secret at all times is both intriguing and provocative, inviting viewers to engage with the idea of what a film can be. The 9:16 aspect ratio, typically associated with mobile and social media content, adds another layer of modernity and accessibility to this avant-garde creation. While the film is technically in color, the true "color" of the narrative and its themes are left to the imagination of the audience, which becomes a canvas for individual interpretation. The use of digital shooting format ensures a crisp and modern aesthetic, although, ironically, the audience is left to imagine the visuals that accompany the unseen story. This invisible approach challenges viewers to consider the unseen and the unknown, making "Invisible Film" a thought-provoking exploration of hidden narratives and the power of the unseen. In conclusion, "Invisible Film" is an enigmatic and daring project that pushes the boundaries of cinematic art. By withholding its content, Mishchenko invites us to ponder the essence of storytelling and the nature of cinema itself. While it may confound those seeking traditional narrative structure, it will undoubtedly inspire those open to experimental and conceptual art forms.

#RegRecommends - 𝐌𝐲 𝐓𝐨𝐩 5. Back for another. 2 weeks have flown by but still able to stay across my watchlists and intentionally consuming. So here's my end of May new list of 5 cross-platform favourite things. (This list doesn't include anything that I've seen at the cinema or an event. I'm keeping it homely or digital). 𝐅𝐞𝐚𝐭𝐮𝐫𝐞 𝐟𝐢𝐥𝐦 𝐨𝐫 𝐝𝐨𝐜𝐮𝐦𝐞𝐧𝐭𝐚𝐫𝐲: Civil War - https://lnkd.in/epsxP8Sc Watched this on Prime, on bank hols weekend. It remains quite apolitical in choosing sides, which is a bold choice considering the times we're in. I've seen that as a criticism but I think that's a lot of the point of this story. It has a really memorable Jesse Plemons cameo - do I need to say more? Great cinematography and solid performances all round too. I quite enjoyed it. 𝐒𝐡𝐨𝐫𝐭 𝐟𝐢𝐥𝐦: Brown Brit - https://lnkd.in/eUf96Svs I've been lucky enough to watch a few shorts lately at events in real life, but also caught this online recently. Which I thought was well done. A woman pays a sweet tribute to her mother with a montage of real archival VHS footage from 80s and 90s. Powerful stuff. 𝐈𝐧𝐬𝐭𝐚𝐠𝐫𝐚𝐦: blackcactusx - https://lnkd.in/eADXmCj8 Easy to digest, visual/sensory satisfying page. Not everything on here is a hit or especially deep but it has it'll have its place on your feed. Think of it as a scrapbook of images and bold/thought provoking, aesthetically pleasing quotes. Reminds me of how IG used to be. 𝐘𝐨𝐮𝐭𝐮𝐛𝐞 𝐜𝐡𝐚𝐧𝐧𝐞𝐥: Cinema Stix - https://lnkd.in/eqVkUr_9 "when the filmmakers respect the communities they're depicting". This particular film essay and channel usually does a big service in recognising the socio-impact and responsibility of cinema, through digging into the craft on filmmaking - usually looking at quite popular/classic films. 'Sound Of Metal' is the focus of this engaging piece and a film that continues to age well.  ̶T̶V̶ ̶s̶e̶r̶i̶e̶s̶ 𝐏𝐨𝐝𝐜𝐚𝐬𝐭 𝐞𝐩𝐢𝐬𝐨𝐝𝐞 - Innovation 2.0: Do Less - https://lnkd.in/etkvEJKW I've gone with a podcast ep this time instead of a tv show (we'll be back with that next time), as felt this was more valuable to share. Maybe I'll alternate between the two types of content, to keep it fresh. But this is an amazing ep from Hidden Brain, that I listened to. It mainly gets into speaking on how to approach things in life from a point of subtracting as innovation, rather than the common approach of adding. This ep also includes an interview with a philosophical but well known engineer and architect. What's been on your list lately? Have you managed to watch anything? #mytop5 #regrecommends #filmdiscussion #digitalfootprint #whattowatch