DIVISION’s Post

**Unveiling the Magic: A Glimpse Behind the Scenes of Cinema** While the silver screen dazzles audiences with captivating stories and breathtaking visuals, the true magic of cinema often lies behind the scenes. Behind every memorable scene, there's a team of dedicated professionals working tirelessly to bring the director's vision to life. Let's peel back the curtain and explore the fascinating world behind the cinema: **Scriptwriting:** It all begins with a story. Scriptwriters craft narratives that capture the imagination of viewers, laying the foundation for the entire film. **Pre-Production:** Months before cameras roll, meticulous planning takes place. Producers secure funding, directors scout locations, and production designers create sets that transport audiences to different worlds. **Casting:** Casting directors sift through countless auditions to find the perfect actors to breathe life into the characters. Chemistry tests and callbacks help assemble the ideal ensemble cast. **Production:** Lights, camera, action! The heart of filmmaking unfolds on set, where directors collaborate with cinematographers, actors, and crew members to capture scenes that resonate with audiences. **Costume Design:** Costume designers meticulously craft wardrobes that reflect characters' personalities, era, and setting, enhancing storytelling through fabric and color. **Makeup and Hairstyling:** Makeup artists and hairstylists work their magic, transforming actors into characters through prosthetics, wigs, and cosmetics, ensuring continuity throughout filming. **Special Effects:** From practical effects to CGI wizardry, special effects teams create the spectacle that brings fantasy worlds to life, whether it's a dazzling explosion or a mythical creature. **Post-Production:** The editing room becomes the final battleground, where editors weave together footage, sound, and visual effects to sculpt the film's narrative and pacing. **Sound Design:** Sound designers layer audio elements—dialogue, music, and sound effects—to evoke emotions, enhance tension, and immerse audiences in the cinematic experience. **Marketing and Distribution:** Even after the final cut, the work isn't over. Marketing teams promote the film through trailers, posters, and press junkets, while distributors ensure it reaches theaters worldwide. **Audience Reception:** Ultimately, the true measure of a film's success lies in its reception by audiences. Reviews, box office numbers, and awards ceremonies provide feedback and recognition for the collective efforts of everyone involved. #snsinstitutions #desingthinking #designthinkers

Produced this project for Last Myle Films, directed by Abdul Basit with our incredible A-team. Collaborating with such uber-talented professionals in the industry is always a rewarding experience. This ad was inspired by one of Audi's campaigns, and from the outset, we had a crystal-clear vision of what we wanted to achieve. That clarity allowed us to not only execute the project flawlessly but also to stay precisely within the budget we set—something every producer strives for. When producing, especially during the prep and budgeting phases, there are a few key things I always keep in mind. First, it’s essential to define the vision clearly. Before anything else, ensure everyone—from the director to the crew—shares a unified understanding of the creative vision. It saves time, avoids confusion, and ensures seamless execution. Second, build the right team. Your team is your greatest asset. Invest time in assembling professionals who align with the project’s goals and who can anticipate challenges before they arise. Third, plan for contingencies. Even with the best-laid plans, unexpected costs or challenges can arise. Always allocate a portion of the budget for contingencies to avoid last-minute scrambles. Finally, optimize resources and communicate constantly. Identifying areas where efficiency can be maximized without compromising quality, whether through smart scheduling, location choices, or leveraging existing assets, is key. Clear and frequent communication between departments ensures alignment, prevents costly mistakes, and keeps everyone moving in the same direction. This project reminded me once again that with the right prep, a solid plan, and a stellar team, you can achieve creative excellence while respecting the budget—a win-win for everyone involved. Watch the add here:https://lnkd.in/dQsSagBn

URGENT 🎬 Casting Call: Voice Actors for a Historical Animated Short 🎬 We’re bringing the story of Hærvejen to life with a unique animated documentary, and we’re looking for Danish voice actors to help us tell it! This project will feature powerful monologues that transport viewers through centuries of Danish history, from the Bronze Age to the Viking era and beyond. About the Roles: We’re seeking voice actors who can capture both the emotional depth and subtle regional nuances of each character’s story. Each monologue lasts around 2 minutes and is written in standard Danish, with a light regional touch (German for Helga and Thorulv , Midtjysk or Nordjysk for the Studedriver) to reflect each character’s origins. Fluency in written and spoken Danish is a must. Production Details: 🎬 Production: Animated Short on Hærvejen 📅 Recording Dates: 23 Nov - 1 Dec, 2024 📆 Deadline: 16 Nov, 2024 📍 Location: Odense or remote recording (if applicable) 💸 Compensation: Competitive hourly rates + covered transportation and meals Roles We’re Casting: 1. Helga (Bronze Age) – A 16-year-old girl on a journey north for marriage, searching for hope after a recent family tragedy. 2. Thorulv (Viking Age) – An 18-year-old merchant’s son on his first trading trip, balancing excitement and responsibility. 3. Studedriver (1752) – A weathered cattle driver, frustrated with the harsh realities of his labor. Why Join Us? As a voice actor on this project, you’ll be part of a production that not only tells stories from Danish history but also weaves in the authenticity of regional accents to bring our animated characters closer to life. We’re also taking reference photos to help our animators capture body language and facial expressions, ensuring your unique presence shapes each character’s on-screen persona. How to Apply: To apply, please send me a DM with a link to: 1. A short voice sample in standard Danish with a light regional tone. 2. A brief introduction and any relevant experience. 3. Your availability for recording dates. 🔗 Interested or know someone who would be perfect for this? Drop me a message or share this post to spread the word! Artwork credit: Evyind Earle (He’s one of my favorite artists of all time go check him out!) #castingcall #voiceover #animation #historicaldocumentary #Danishhistory #Hærvejen #voiceactors #Danishculture

In the words of Tina Fey "In most cases being a good boss means hiring talented people and then getting out of their way." This project couldn't be more reflective of that exact sentiment. Being an exec producer requires getting your team the exact runway they need to make a project take off and then getting out of the way. This wouldn't be what it was without the talented vision of Abigail Ballanger, Sofia Pompei, Sadiel Gomez and Post Point-guard, Mallory Robbins 🏳️🌈 (You'll be seeing my team EVERYWHERE real soon if you haven't already. ) Mallory brought a specific post production vision to the table way before rolling camera and ensured the post talent was stacked in our corner with Wingman VFX and The Vanity on colour: a crucial element that contributed to the success and smooth as butter edit. Projects like this require insane precision. Building the piece around the sound design first (it is a spec piece for Sony after all.), having the post team lead the charge in pre production, more metronome than possible and a deep and robust cinematography plan supported a strong directorial vision that was mapped out by the second. None of this would have gone well without a strong, patient and detail oriented producer, which Joanne Gnatek is in spades. No detail was overlooked from props to the most perfect location that had easter eggs in every corner (and took an enternity to scout and a lot of insurance to secure- remember the glasses cases ya'll #iykyk). I was sold at that chandelier that came with the location: no set dec here folks. #saveadollor Team of sharp shooters. I love making things that feel a little extra special and working with a team like this was the only way I would have done it. Lesson here: strong team + strong preproduction = seamless end product. They make it look easy, but I promise you, it isn't. EP: Lauren Schell Production Company: @quietnoisestudio Line Producer: Joanne Gnatek Creative Studio: @wild______card Screenwriter: Sofia Pompei Director: Abigail Ballanger Co-Director: @sadiel_gomez AD: @Emma.buchs DOP: @sof.pompei 1st AC : @nazarshade 2nd AC: @nicolas_twc Steadicam Op: @taliawo Dolly Op: @willbinks Gaffer: @willbinks Key Grip: @zacharyjguy Location Sound: @anguslmc Production Designer: @abigailballanger Set Decorator: @artbyashleyf_ @yaaaaastudio Wardrobe: Vanessa Popoli MUA: @Jerkpierogi MUA Assistant: @izzy.wriggs BTS : @tishtish_tish @sara_reza Editing House : @marriedtogiants Editor: Mallory Robbins 🏳️🌈 VFX House: Wingman VFX VFX Producer: Airees Angellakis VFX Junior Producer: Lauren Schilter | VFX Artist: @jonnypipez Colour: @thevanityvfx EP Producer : Stephanie Pennington Colour Producer: @v_garcia97 Colourist: @jordanbenegbi Sound Design: @sadiel_gomez Talent Agency : @wantmanagement @vmtmagency @sutherlandmodel Talent: @caleb.nurse @estyr_143 @kerrifigueira @simonbelaisis Rentals @ibukirentals.ca Prop Rentals: @propboxto

“Cinematic” is hard to define. Is it the lighting? The framing? The movement? The lens? The camera? Yes. But in practice, media is only cinematic if it makes something feel SPECIAL. Dark or bright, neat or chaotic, smooth or jittery, F/2 or F/8, Sony or Canon; Doesn’t matter. If you’re trying to create cinematic media, stop overthinking! The truth is, cinematography comes with trials and experience - just do what feels special, and overtime you’ll figure it out. Hope this helps <3

What Is a Body Double? https://ift.tt/KiPBekl We've got the body double meaning lined up for you. Have you ever thought you were seeing double? Well, in film and television, you actually might be. See, when directors shoot particular scenes, sometimes they need people to act as actors' substitutes. Someone to stand in and be the person while the talent is in hair and make-up or even running late. Those people usually share the same physicality or even similar looks to the lead. We call them doubles, or body doubles, and they're crucial to the filmmaking process. and it's not just standing in, at times they'll be on screen, in huge scenes, and even doing nudity. Today, we're going to define "body double." We'll look at examples of their use in film and TV, as well as photography. We'll even check out the movie by Brian De Palma, which happens to be one of my favorites. Ready? Let's dive in. What Is a Body Double? (Definition and Examples) Before we dive in, I want to reiterate that there are a wide array of meanings when it comes to this term, so we're going to go one by one, adding definitions and nuance as we go. "Body double" Definition In filmmaking, a double is a person on set who is used to pose as another actor. While their face is not shown, their body is used to pretend they are someone else. There are several specific modifications to this, like being a hand double, butt double, or boob double, depending on what is shown in the shot. How Much Does Body Double Make? According to SAG, a full-body double earns $3,936 per week, or $204,672 per year, accounting for 52 consecutive workweeks. But know that most doubles are not employed for a full year. Some may just get one day's work. Who Uses Body Doubles? Actors who do not want to appear naked on screen might have in their contract that the studio hires a double so someone else is named in the scene, but is shot to look like them. They also can be in a scene such as a stunt or another action sequence that requires a body to be seen, but not a face. In fact, when it came time to shoot the nude scene in Domino, Keira Knightly was allowed to pick her own butt double, saying, “They all had very nice bottoms and I chose one.” Think about when you've watched movies where a character plays the piano, or does some art, ballet, or even types a book. If an actor cannot master a specific skill or task, they'll use a double to perform those tasks. Doubles are there to keep realism in movies and TV shows. You want to buy into the world and into the characters. Doubles are a great way to maintain that realism for the audience, without putting the actor at risk or forcing them to feign a mastery they do not have. Body doubles also may be deployed by the production as stand-ins. Dwayne "The Rock" Johnson's body double is his cousin, Tanoai Reed Credit: Universal Pictures What Is a Stand-In? A stand-in is not a double. They are people who resemble the actors in height...

Filmmakers, is there a better feeling than getting to work with a brand you genuinely admire for their mission and products? Working with @dannycevette and the crew at @Centric has been such a vibe because we’re all on the same page. Danny’s all about that "if you’re not growing, you’re dying" mindset—even if it’s just getting 1% better every day. The idea of pushing boundaries, day by day, little by little, really hits home for me. Danny’s not just about lifting weights or running. For him, being a hybrid athlete is about leveling up in every area of life. It’s about realizing that this constant grind to get better—even by the smallest bit—isn’t just a goal, it’s what LIFE is all about. At Centric, they want to be the best performance short brand in the business and believe in creating products built for the toughest! That’s what makes working with both of them so dope! We’re all always looking to innovate, push those boundaries, and get a little better every single day. It’s not just about the work; it’s about living with that shared mission of always growing and enjoying the process together. When you find that kind of alignment, it doesn’t even feel like work. It’s just a bunch of people who get each other, constantly pushing to be better. And honestly, that’s what it’s all about, right? Super proud to share projects like these that genuinely mean a lot to me to make. I hope you can feel the difference :) New commercial work with @centric out now! Client: @centric Athlete: @dannycevette Production Company: @kyleloftusstudios Production Crew: - Director: @kyleloftusstudios - Cinematographer: @kyleloftusstudios - Camera Operator: @enmanuelzabala18 - Editor: @_jpsinger - PA: @viewofryan #filmmaker #filmmaking #videographer #cinematic #cinematicvideo #cinematicreel #onset #setlife #contentcreatortips #shortfilm #cinematography

How to deal with FILM LANGUAGE in audio description? ❤️ #AdlabGuidelines: audio describing Film Language The focus of an image, the audience's expectations, and the potential for suspense or surprise are all determined by the combination of three main categories: mise-en-scene, cinematography, and editing. How to deal with film language in audio description? ⚡ Identify which film technique is used in the audiovisual product: MISE-EN-SCENE techniques refer to everything filmed in a shot that is visible to the audience, including:  - SETTING: how the elements in the shot are organized. Centered elements are more important, while peripheral ones are considered marginal ( literally and figuratively); - COSTUMES AND MAKE-UP: direct the viewer's attention and may indicate the general time period of the movie. - STAGING: The movement and performance of the actors. CINEMATOGRAPHY techniques refer to the way shots are composed, according to:  - PHOTOGRAPHIC qualities: color, speed of motion, lighting, camera angle, and focus; - SHOT FRAMING: what is presented within the movie frame (from extreme long shots to extreme close-ups);  - SHOT DURATION: think about long shots vs fast-paced scenes. EDITING Techniques determine how shots relate to each other. This relationship can be:  - GRAPHIC: Moving, transforming, adding an item between shots.  - RHYTHMIC: Create specific patterns by combining different shot lengths. - SPATIAL: how the filmmaker guides attention on the space between shots. - TEMPORAL:  chronological order of shots. ⚡Think about the function of a particular film technique DENOTATIVE: directing attention and showing what is important for the plot to develop. Determine if the information needs to be described, is already known, or is unique. EXPRESSIVE:  If the technique is expressing an intra-diegetic emotion of a character, determine if the information needs to be described. If the technique is intended to create a mood in the audience and needs to be described, convey it with a specific type of language or by voicing the description to reflect that mood. SYMBOLIC: Determine what is symbolic and what information can be inferred from other elements. PURELY AESTHETIC. Decide if and how to convey it through AD using specific language or voice style to reflect the aesthetic function. ⚡ Create the #AudioDescription SCRIPT Decide how to describe the technique based on its purpose and construction:  - Name the technique (a bird's-eye view of Manhattan)  - Name and describe the function (A close-up reflects the lady's fear) - Describe only the function or meaning (The fear is reflected in her eyes)  - If a technique is very important, make sure you convey it in your AD.  - If you need to refer to the same technique, use the same language to increase the coherence and cohesion of the AD.  - Most scene cuts are left undescribed in ADs if they have no particular added meaning. I'd like to know: How do you deal with film language? ❤️

Press > UNIT launches Film & TV VFX Division collaborating with Eleven Films creating a CG Photoreal Gorilla & CG Environments on gripping new Drama Series STAGS for Paramount+. STAGS saw the UNIT team work with David Kerr, known for his BAFTA-winning work on JOHNNY ENGLISH STRIKES AGAIN and INSIDE NO 9 (BBC), as Lead Director and Executive Producer, alongside Golden Calf-winning Director and Associate Producer Giancarlo Sanchez whose credits include ARES (Netflix), SANTOS and JOARDY SEASON. The production of STAGS saw UNIT’s VFX Team working closely with the talented team at Eleven Films - the contribution was vital to the visual storytelling, delivering 300 VFX shots across three episodes. UNIT’s VFX Supervisor Nuno Pereira led the VFX supervision and creation of the Gorilla ‘El Niño’ working to enhance the most realistic fur, movements, eyes and overall emotive performance from the CG creature. Read more by clicking the link https://lnkd.in/e6CQUJz3 and check out our new Film & TV VFX division on our website. Credits: Broadcaster: Paramount+ Production Company: Eleven Films Director: David Kerr & Giancarlo Sanchez UNIT: VFX Supervisor: Nuno Pereira VFX Artists: Fraser Cleland, Alec Eves, Ian Baker, Rob Ellis & Andrew Maddison Creature Supervisor & Full Creature Build: Aritz Basauri Animation Supervisor: Brett Margules Compositing Supervisor: Bence Varga 3D Artists:Corentin Maudhuit, Iñaki Gegúndez Vicente, Aritz Basauri Brett Margules & Kat Sokolska Nuke Artists: Leire Lizarraga Sanz & Bence Varga . . . #STAGS #ParamountPlus #TV #UNIT

Useful tips. Brendt Petersen nice work, and the prompts are very helpful.