Hollywood Camera Work Visual Effects For Directors Full Set 7 DVD-Reup 6
Bok Mull
In the commercial and theatrical world, professional filmmakers intentionally alter reality. They use all kinds of tricks to make things intimidating, pretty, ugly, or endearing. Makeup, costumes, and lighting turn a perfectly charming Emilia Clarke into the Mother of Dragons.
Hollywood Camera Work Visual Effects For Directors Full Set 7 DVD-Reup 6
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This is nothing new. Film has been an interpretive art since its inception. Below are two of the earliest war photographs ever taken. These are from the Crimean War in 1855, twenty-three years before the first movie was made.
Taken together, Chernobyl and the companion podcast are worth far more to aspiring filmmakers than anything you can find in a university catalogue. The podcast is free and HBO Now has a 7 day free trial. You have no excuses. If you want to learn about the craft of filmmaking, Chernobyl is a must.
In addition to getting the image to the director, the video assist operator records the action, allowing for immediate playback. This allows directors to re-watch takes without waiting for dailies. Directors may call for playback to check performances, look for continuity errors, see if a piece of gear was in the shot, check to make sure a stunt or effect worked, or watch something back in slow motion.
The video assist system is also used to record rehearsals. When we shot on film, this was a critical way to practice camera and actor movement without wasting thousands of feet of film. Today, most film production is done on digital video, but film crews still use rehearsals to practice shots before all of the lights, makeup, and effects are in their final places.
Video assist operators need to be careful about what they put on screen. One of my coworkers was troubleshooting an issue with his personal phone and forgot to delete the number when we went to shoot. Months later when the DVD came out, he was inundated by calls from curious fans who wanted to know who Jason Statham called in the middle of the film
A lot of this has to do with how your characters react to the situations you put them in. If you walk down the street this afternoon and come across someone bleeding to death, how would you react? Call the police? Call an ambulance? Vomit and run away? Now what if you were walking down a beach in Normandy on June 6, 1944? You may vomit and run away, but you might also pull out a machine gun and start shooting Germans. Not a great option in the first example, but perfectly understandable in the second.
The film could have humanized them in a variety of ways. It could have better explained why they were killers (bullying? revenge?), given them their comeuppance in the end, or given them an opportunity to make amends for what they did. It also could have made their victims more despicable, turning Sadie and McKayla into the lesser of several evils (think of Dexter). But for some reason, everyone else in Tragedy Girls, is strangely guiltless and generally likable.
Tragedy Girls disregards the three act structure, starting with Sadie and McKayla committing their first murder and capturing (and torturing) a serial killer. While it does get things moving quickly, it raises more questions than it answers. Who are these girls? What is their ordinary world? Why do they believe they are morally justified in killing people? Why is social media so important to them? Why do they want to be notorious killers? Answering even one of these questions would help endear them to the audience which is, after all, the primary function of the first act.
(Sidebar, my first job in television was securing music rights for a high school band concert. We needed separate rights to broadcast the music and rights to synchronize the music to the televised concert.)
3) Amount of the copyrighted work. Screening the first scene of Saving Private Ryan to educate film students on a particular cinematography technique is probably okay. Screening all of Saving Private Ryan to a packed theater, not so much.
A few years ago, a biopic about Magaret Thatcher came out. Merryl Streep did a fantastic job in the titular role of The Iron Lady. She won several awards including the Oscar for Best Actress. But as a whole, the movie was virtually unwatchable. Halfway through, I started folding laundry, and by the end, I was scrolling through Twitter. The reason is that The Iron Lady violated an ancient, very clearly spelled out screenwriting rule: the Unity of Time.
I really wish I had seen Clash of the Titans in 2D. I kept taking off my glasses as the 3D was bugging me and thought this looks much better, just not in focus! Also the cinema had the damn cheek to charge me 2.50 for the 3D glasses!! Rip-off!
The best shots are the ones that have not DOF at all. You can focus where you want. Shots that have shallow DOF and defocus in your face, are horrible. You try to focus a element that is defocused!. The brain explodes, bam!.
There were certain times when there was shallow depth of field in Avatar and those were the only moments I thought about the fact that I was watching 3D. It was pretty jarring. The problem is that people would have to make their 2D and 3D movies even more distinct. Shallow DOF is necessary in the 2D version but it would have to be stripped from the 3D version. That requires a lot of planning and might only work in completely CG movies.
3D is not ready for prime time, watching Avatar was distracting rather than helpful in putting me in the story. Kept taking my glasses off to give my eyes a rest. Maybe soon the tech will be there but its just not there yet.
(and by the way: I think most of those headaches with current 3D technology come from the fact that the film maker is unable to peacefully instruct the audience how all the muscles in their eyes should be moving)
Also, for the past 100 years or so, the eyes of our societies have been trained to recognize flat 2D images as the norm. Our human brain takes that 2D image and translates so that we who watch can understand that it is a representation of a 3D space.
Granted, Avatar, and the others you mentioned definitely went well beyond what they needed; and not in a good way. This 3D thing is so new that everyone wants to show off, hence the unbelievably week stories; like Avatar for example. I think some directors have lost their way. The story ALWAYS comes first.
3D is just the natural evolution to visual story telling. We first started with cave drawings, then we created writings, to paintings, then photography, photography to moving film, Film to CG, Film/CG to 3D; and so on.
As for DOF issue. Now people have work to do. With a 3D image, it forces a person to look and focus on top of the DOF that has been set. For some people, it become a visual retraining hoop to jump through. On the other hand, with Traditional 2D the eye just moves between the different points without force. The viewers focus/DOF is already handled. That is why I get stressed from it, 3D that is.
The thing with truly interactive 3D films is that it removes the way the film was shot to the control of the viewer!! So if you were able to exploit a holographic depth to the image by moving into it and rotating your view point, it becomes more like a computer game than a film.
Isnt it all about that most (all) movies have the cameras (lenses) too long from each other?
All 3D then becomes unnatural. The Lenses should have exactly the same distance from each other as your eyes.
You are right, the usage of shallow depth of field in 3d Movies sucks! It looks like the directors have no clue how to to tell the story in 3d!
And that is in my oppinion the main problem why most of the known directors are not interessted in using 3d for their movies!
3d is good to get the audience closer to the screen but it is usless in this early stage to tell the story!
It is interesting to see the battle between producers who see the profit of 3d and the artists who see just a carneval ride attraction at this point. They should use 3d for games, animations, theme parks and mojo adult films for now!
There is a way to do it, actually. At the studio I work at in Denver, we have been experimenting with 3D lenses that shoot two images at once, side by side. All you have to do is have a pair of convergence lenses on set to see the result.
I could go on and on as well, but something that really annoyed me when I saw Alice In Wonderland was that if I took the glasses off, the colors were different. The glasses added a green tint to everything. As someone who is seriously considering a career as a colorist, it really annoyed me that the glasses were taking away from work that someone had put into the film, to make the film look the way it was supposed to.
I mean, you have three main 3D technologies being pimped as of now: colored lenses, polarized lenses and LCD. Most people are just confused with how polarized lenses work, much less with the idea you will have to change batteries out of your LCD lenses, once you buy your 3D Blu ray player.
The other thing is watching all of these smaller film companies try to keep up. At my studio we have a few solutions and are ready to roll with 3D, but it is going to be crazy to see the rest of the community stumble / catch up.
As a final note, if RED ever gets their Cinerama camera out, this will be an interesting addition to all of the other mediums out there. Eventually, we will be going to theaters that include all of these mediums, not just the top four: IMAX, Digital, 35mm or 3D
We will be at NAB. HDlogix is the name. I unfortunately wont be there but ask for Will or Simon they will be more than happy to give you a tour and show you what we can do. Very interesting and I think in a lot of ways our system is a lot better and far easier than big heavy stereoscopic rigs.
Avatar did a better job of making the 3D environment more organic. Beowulf was 2D images in a 3D environment so it was quite obnoxious and led to that popup book feel Mr Bloom talked about. Avatar did seem to have a little more depth. Rounded features were rounded and had less of a cutout feel. That is not to say that it still needs to be further developed as I found myself taking the glasses of at about the two hour mark for 5 minutes just to get rid of the vertigo.
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