**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
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The Definitive Guide to Creating a Film and TV Mood Board https://ift.tt/v5Um67P Tell me if this has happened to you: you're trying to pitch on a commercial or film, and you're having trouble communicating with the producers about the look and the feel of the project. Maybe the most important part of the pitch process is communicating how the audience should react. If you want to make sure everyone is on the same page, you might need to create a mood board. Creating a director's mood board is an essential step in pre-production for any film or television project. It serves as a visual blueprint, expressing the intended aesthetics, tone, and mood of the upcoming production. So let's go through how to make one together. This comprehensive guide will walk you through the process of creating an effective director's mood board, providing a solid foundation for your creative vision. Creating a Director's Mood Board for Film and TV Creating a director's mood board is an essential step in the pre-production phase of film and TV projects. A mood board helps directors visually communicate their creative vision to the production team, including the cinematographer, production designer, costume designer, and other key collaborators. Understanding the Importance of a Mood Board A mood board, sometimes referred to as an inspiration board, is a collage of visual elements such as images, color palettes, and videos. It's a creative tool that encapsulates the envisioned look and feel of a film or TV show. The Mood Board Is A Visual Communication Tool A mood board is a potent communication tool. It provides a tangible representation of abstract ideas, making it easier to share your vision with your team, including designers, cinematographers, and actors. By offering a shared visual reference, mood boards facilitate collaboration. They allow everyone involved in the project to contribute ideas and suggestions, refining the overall vision. From costumes and set designs to lighting to shot composition, a mood board guides various aspects of the production process. It ensures consistency in aesthetic decisions, contributing to a cohesive final product. What Are the Key Components of a Mood Board? I find it pretty flattering when directors make mood boards for screenplays I've written. It helps me understand their vision and make sure we are all on the same page. There are some essential components that help get this message across. When crafting a mood board, consider including the following elements: Characters Include visual references that capture the essence of your characters. This could include photographs, sketches, or even color palettes that reflect their personality or emotional state. Who's in this project? Who do you think should play them? Locations and Set Design Visuals representing the desired locations and set designs can help your art department understand your vision. Include images th...
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Ever seen a film that messes with your mind through its visuals? That happened to me twice this week. You know that feeling when a movie scene hits you so hard you have to pause and go, "Wait, how did they do that?" I stumbled upon "Strange Darling" and "The Substance," two films that struck me with their visual storytelling. As someone who often watches movies just to study the cinematography and editing, these two had me completely hooked. From my perspective as a film enthusiast (not an expert), I want to share what I noticed and learned. While I might not get all the technical terms perfectly right, these are my observations and how these films impacted me visually. Let me break down what caught my eye... Key Technical Elements: Cinematography Techniques: Strange Darling: - 35mm Film: Creates rich grain texture and nostalgic depth. - Split Diopter Shots: Maintains simultaneous focus on foreground and background elements. - Neon Lighting: Used for psychological tension and mood enhancement. - Colour contrast: vivid reds against forest greens create visual drama. The Substance: - Tightly-framed Shots: Creates claustrophobic intimacy. - Fish-Eye Lenses: Distorts space and character perception. - Extreme Close-Ups: Emphasises skin texture and character transformation. - Practical/Digital Effects Blend seamlessly merges during transformation sequences. Advanced editing techniques: Non-Linear Editing in Strange Darling: - Six-chapter structure jumps across timeline. - Pattern: Setup → Tension → Reveal → Past Context → Present Resolution. - Transition Techniques: Fade-ins/fade-outs between chapters. - Impact: Transforms simple plot into complex psychological thriller. Rhythmic editing in the substance: - Pacing Variation: Slow burns to rapid-fire sequences. - Match Cuts: Connects disparate scenes through visual parallels. - Layered Effects: Practical effects timed with digital enhancements. - Cross-Cutting: Between reality and transformation sequences. Key Technical Takeaways: 1. Non-linear Editing (Strange Darling) * Breaks chronological order into six chapters * Uses fade transitions to guide viewers through timeline jumps 2. Camera Techniques * Uses close-ups and tight framing for emotional impact (The Substance). * Heavy emphasis on lighting and colour contrast (Strange Darling) 3. Editing Style * Strange Darling: Slow builds to create suspense * The Substance: Quick cuts during transformation scenes for intensity 4. Visual Effects (The Substance) * Blends practical and digital effects for transformation sequences * Uses extreme close-ups to showcase these effects (P.S.) Both are R-rated, so watch at your own risk. I might not have every technical detail right, but this is what amazed me visually. Let me know if you spot something I got wrong! Have other visually mind-bending films to recommend? Let's talk below! #filmanalysis #visualstorytelling #thesubstance #strangedarling #filmmaking
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On Man wrote the score for my first feature film, ‘The Bansky Job,’ establishing a strong relationship that made directing the video for his latest single, ‘Worse Than it Seems,’ a unique collaboration. Our shared sensibilities and clear goals allowed us to create something that functioned both as a music video and a film, where the song acted as a score. We aimed to ensure the music was never secondary to the visuals, with every narrative beat correlating directly with the song. The concept we developed centered on themes of discrimination and isolation, telling an allegorical story about a woman growing a third eye on her temple and the derision she faces. We wanted to avoid typical horror film tropes, making the eye feel like a medical affliction rather than a mutation. Working with the incredible VFX supervisor Puff Pisanwalerd, we aimed to create an unsettling yet guilt-inducing eye that felt sentient. Through extensive research into afflictions and mockups, we decided on the eye's placement at the temple for added discomfort. Realizing we needed a physical prosthetic for the final shoot led us to the talented prosthetic artist Suzi Battersby, who crafted stunning pieces that enhanced immersion. Casting my dad's eye proved essential for the project, as it needed to be commanding yet repulsive. This required logistical coordination to capture shots effectively. The VFX process took around six weeks, with significant challenges in compositing, particularly during the kiss scene. To ground the fantastical elements, we adopted a documentary approach to the camera work and lighting, complicating motion tracking for the VFX. DoP Anthony Dias chose to shoot on RED with beautiful K-35 lenses for a unique cinematic quality. Inspired by David Cronenberg, David Lynch, and Charles Burns’ graphic novel ‘Black Hole,’ we cast Katie Clarkson-Hill for her expressive abilities, alongside Richard Mason, ensuring strong performances. It was a challenging yet rewarding project, achieving a balance between music video and short film. #Directors #Directorsroster #VideoProduction #Filmmaking #Cinematography #Filmmakers #Creative #Photography #Cinema #FilmProduction #FilmCrew #FilmisLife #Lovefilm #Brands #Advertising #Content
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Those Names And Title Credit You See Before A Movie Starts, Do You Know What They Do? Sure most of you don’t. So Lets Break Them Down For Those Who Dont Know. EXECUTIVE PRODUCER -This is the one sponsoring the movie. He/She provides the funds and financial backing to execute the project. EPs are usually investors looking to invest their money in a Movie. PRODUCER -The Producer is the one who assembles the cast, crew, logistics etc He/She is also responsible for paying for cast and crew services (using the funds provided by the Executive Producer) and making all necessary arrangements to make the movie successful. A producer sometimes is also the EP. PRODUCTION MANAGER -This is one who assists the producer to manage the provisions being made by the Producer. The PM may also keep financial records and works with the Producer to ensure the Movie stays within proposed Budget. DIRECTOR -The one who directs the projects from start to finish. Ditecting is the most important part of the moviemaking. He/She takes the lead and directs actors and the rest of the crew to give the movie the desired result which the Producer have outlined. ACTOR -Actor gets into the character that must be portrayed. He/She has to be very skilled else the movie is not interesting to watch. STORY -The one who created the story SCRIPT/SCREENPLAY - The one who pens the story into spoken words, scenes and montages. The scriptwriter must know how many words that make up a scene in order not to make the scenes too lengthy or too brief. SCRIPT EDITOR- Reads through the script to correct any mistakes or blunders. EDITOR -the ones who arranges the video clips from scene to scene in order of sequence to create the movie. SPECIAL EFFECTS -the one who creates the effects. Example when you see a human flying in the movie DIRECTOR OF PHOTOGRAPHY -this person takes the video shoots. He selects what camera angles will suit each scene. LOCATION MGR -This is the person who seek out locations for each scene. He must know the terrains and laws guiding a Location or recruit assistants who know the terrain and laws. SET DESIGN -the one who creates the environment where a scene took place. Example a set designer would design an environment to have the feel and look of a kings palace MAKE UP -Some people think make up has to do with lips and cosmetics but it is much mor than that. The make up artist turns actors into a desired character. Example painting an actor to look like a scary ghost COSTUME -this persons selects all the dresses to be worn by actors for each scene SET PROPS manages the properties used on set MUSIC -This Person creates the music and soundtracks to be used. He/She may also work with the Editor to select which sound is suitable for each Scene SOUND -this person ensures the actors remain audible throughout the shoot. Their primary is to hold a mic close to the actors speeches whilst still hiding it from Camera.
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“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
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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
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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? ❤️
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What is ‘Big Concept’ movie? Part 1 This is going to be lengthy, so I am posting in parts. It all started as I was listening to interviews of some of the famous Hollywood writers, their take on ‘Big Concept’. There were many common merits spoken by the writers. But no one was clear enough to restraint confusion. Maybe they were but I failed to understand. I watched that video repeatedly. I sat under running fan (Bodhi Tree or any tree was out of my reach) with my laptop, powered with internet for the whole night digging on the subject. Finally, by 3:30 am, light dawned in me. Now, I have opinion of my own. So, I thought to express it. ... Why not? The term ‘Big or Great Concept’ is bit subjective. But summarising it, I understand, all the following merits must be true for a ‘Big Concept’ movie. All are equally important. 1. Genre 2. Captivating Story 3. Good Cinematography 4. Excellently Choreographed Actions 5. Excellent Editing 6. Quality Visual Effects (VFX) 7. Performance of Actors 8. Sound Design 9. Opening Scene 1. GENRE – Box Office collection in past few years reveals popular genres as Action, Comedy, Adventure. These are not in any order and could vary from country to country. Star Wars the movie, created a new genre. There were space movies, plots which dared till our Moon or at most to the Mars except for ‘Star Trek’ the television series. But when the audience saw ‘Star Wars’ on large screen with all those mind bending VFX, a new fan base was created. Movie maker started exploring the space in large scale and audience loved it. There could be a reason, why popularity of space movie increased after Star Wars. For Star Wars, George Lucas set up his own visual effect (VFX) company because George Lucas was not happy with the existing ones, ‘Industrial Light and Magic’ (ILM) was born. There was no software for VFX like what we have today. For Star Wars movie, the ILM guys depended heavily on practical effects like, miniatures, animated puppets, working props, and many other things which were groundbreaking feat for the VFX industry, a new benchmark. 2. CAPTIVATING STORY – should contain point of interest for wide range of audience. Story could be full of suspense or unexpected plot twists or action or all, as the genre demands. The story must be content rich, with possibilities for sequels of same quality as the first. But if the story has too much to fit in one feature length, then it is better to split in parts like Dune 2021, Dune Part Two 2024. Denis Villeneuve confirmed the third one and is expected in 2027. And I am sure, there will be more parts thereafter as the novel itself. #bigconcept #movie #boxoffice #cinematorgraphy #directors #idea #editing #VFX #thoughfulthoughts #opinions #creative
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Angle matters How we see (or are seen) influences our judgment and opinion formation. I mean ‘see’, that’s ‘seeing’ with our eyes. There are only a few ways humans can see another person or an event with their eyes. In ordinary circumstances we see another person from our eye angle or shoulder angle. In some extraordinary circumstances we see another person from top angle, hip angle, knee angle or floor angle. Top angle is a bit of an exception among these extraordinary circumstances because even if the other person is at your eye level you can observe his hip or feet from top angle. That’s why wise people advise, “Wear good ties, belts and shoes”. In some extra extraordinary circumstances we see a person or an event from bird’s eye view or aerial view. This doesn’t happen in normal life unless we use a drone camera or live in a high raised apartment. Almost not possible in a business life. Imagine trying to have a meeting with your colleague at the first floor by shouting down from the fifth-floor balcony like some kind of corporate Romeo. It’s important to note that we are also seen by others using these angles. When the perspective changes the perception changes. Vice versa is also true. For example, if you are dominant (or, want to be dominant) in a conversation you see another person from top angle even though the person is at the eye angle. The angle theory is something different from body language theories. If you have any doubts please watch a movie. Any movie. These angles play a major role in cinematography and they influence how we perceive a movie scene. There’s something unique among all these angles which is known as ‘Dutch Angle’. In this angle we see a person as he/she is in front of us but we psychologically skew the background of the person. For example, the way how we capture selfies! In order to make ourselves straight in a selfie we tilt the camera and, as a result, we appear straight while the background is skewed. Vice versa is also true here. We can show ourselves tilted in front of the leaning tower of Pisa in order to make the background (the Pisa tower) straight. Most of us do it in real life. We usually see the position of a person based on his/her background. Or, we see his/her background by the position he/she holds. (PS - German film makers used this angle in 1920s in cinematography. The Deutsch angle was later simplified as Dutch angle!)
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Just published: "The Psychology of Cinematography: Decoding the Visual Language of Film" I explore how filmmakers leverage our brain's visual processing to craft emotional journeys. From the calming blues in "Moonlight" to the frenetic editing in "Whiplash," discover the neuroscience informing these artistic choices. If you've ever felt your heart race during a tracking shot or found yourself lost in a character's eyes during a close-up, this piece unravels the cognitive magic behind those moments. Thoughts? What's your favorite example of cinematography affecting your emotions?
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