THE EDITORNobody knows what we do... so, a homage to every editor out there in those dark rooms creating art with moving images.<br />
http://insidetheedit.com<br />
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Direction, Design, Animation – Dave Penn https://vimeo.com/sxfngrs<br />
Sound Design – James Locke-Hart http://www.jameslockehart.com<br />
Script – Paddy Bird http://insidetheedit.com
Watchtower of TurkeyOver than 3500 km traveled in 20 days, capturing landscapes from the bluish tones of Pamukkale to the warm ones of Cappadocia, the all passing by a great variation of colors, lights and weathers through six other cities.
I've crossed Cappadocia, Pamukkale, Ephesus, Istanbul, Konya; and tasted baklava, kunefe, doner, the turkish tea; and got the chance to meet the soul of Turkey, its people.. and got their smiles and their hospitality.
This is Turkey lived by me from north to south, and I hope you enjoy it :)
Directed and edited by Leonardo Dalessandri
Music: "Experience" by Ludovico Einaudi - facebook.com/ludovicoeinaudi
Voice off: Meryem Aboulouafa. You can follow her on soundcloud in the following link:
soundcloud.com/meryemaboulouafa
I have a new page on Facebook: facebook.com/leonardolucadalessandri
You can like it, share it, or just have a look on it :)
Watch my previous work "Watchtower Of Morocco": vimeo.com/66659080
Kuleshov Effect / Effetto Kuleshov
Pudovkin's 5 Editing Techniqueshttp://evanerichards.com/2013/3042<br />
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A brief look at some of Vsevolod Pudovkin's theories on editing as well as some examples from more recent movies.<br />
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If you're interested in reading some of Pudovkin's writings, his book "Film technique and Film acting: The Cinema Writings of V.I. Pudovkin" is available for free in PDF, Kindle, or EPUB format at the link below.<br />
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http://archive.org/details/filmtechniqueact00pudo
Satoshi Kon - Editing Space & TimeFour years after his passing, we still haven't quite caught up to Satoshi Kon, one of the great visionaries of modern film. In just four features and one TV series, he developed a unique style of editing that distorted and warped space and time. Join me in honoring the greatest Japanese animator not named Miyazaki.<br />
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For educational purposes only.<br />
You can support the channel at patreon.com/everyframeapainting<br />
And you can follow me at twitter.com/tonyszhou<br />
<br />
For further reading/viewing, I highly recommend:<br />
Andrew Osmond's book "Satoshi Kon: The Illusionist" (my major source) http://amzn.com/1933330740<br />
Kristin Thompson's essay on match cuts & graphic matches http://bit.ly/1x960Em<br />
And this tumblr with an excellent name http://fuckyeahsatoshikon.tumblr.com/
Section 10: Mise en SceneThis is a video lecture for HUM 281; Introduction to Film.
Mise en Scene LectureLecture on the basic elements of mise-en-scene in film.
Mise-en-scène & Cinematography in American Beauty: Scene AnalysisThis video uses two scenes from the movie American Beauty to show how elements of how cinematic techniques related to mise-en-scène and cinematography can be used to help visually tell a story.
The following elements are examined:
Mise-en-scène: Decor, lighting, costumes and body language (gestures, expressions and posture)
Cinematography:
Composition and framing, camera angle, camera height and camera distance
Scene 1
At the beginning of American Beauty, the main character, Lester Burnham is disillusioned with his life. At home, he and his wife hate each other while his teenage daughter cannot stand either of them. At work, he is stuck in a boring and meaningless job writing for a media magazine.
The first scene we will look at appears early on in the movie. In this scene, Lester is meeting with Brad, his company's new efficiency expert. Brad is telling him that his work is not up to standard and that his job is at risk.
What's interesting here is how differently the two men are presented.
Let's look at Lester first. As this is a wide shot, Lester occupies a small portion of the frame, and because this shot is also a high angle shot, he looks even smaller. He is in the middle of a mostly empty room, totally exposed. He is slouching in a chair--his body language sending a message of weakness and resignation, and his facial expression shows his exasperation and frustration.
In terms of decor and lighting, the room itself is ugly, utilitarian, dimly lit, poorly decorated and awfully dull and grey. Behind Lester, there is a dying potted plant stuck in a corner and a painting that is too small for the wall. The ugly décor reveals what kind of company Lester works for—one that sucks the life out of its employees.
In terms of composition, the framing of the shot is also ugly. Lester is positioned in the centre bottom of the frame, which is a strange place to put the main subject. There is far too much headroom above him, his feet seem to be cut off, and at the top of the screen, a ceiling light juts down into the frame. It's an ugly shot in a dark, ugly room— a kind of visual manifestation of Lester's unease and discontent.
Now let's look at Brad. Here the shot is a mid-shot, so Brad occupies a large portion of the frame. The low angle mid shot emphasizes his position of power, especially when it comes right after the high angle wide shot of Lester that we just looked at.
Visually, Brad is presented as being dominant. His posture is straight, he is younger, he is dressed more fashionably and his facial expression reveals smugness and contempt.
Behind him, the vertical Venetian blinds create a visual pattern that calls to mind the bars of a jail cell or cage. To Lester, his job is like a prison.
And note the props around Brad: his desk, his large, brightly shining name plate, the gold pens, the picture and its frame, the Venetian blinds. Almost everything is straight edges, angles and points. Everything is hard, sharp, threatening.
In short, the visual elements in this scene work together to emphasize Brad's dominance over Lester, the soul-destroying nature of their workplace and Lester's hopelessness and vulnerability.
Scene 2
Mid-way through the film, the two men meet again. And Lester is a different man. In this scene, Lester is quitting his job AND blackmailing the company into paying him off.
If you compare these two reverse angle shots, you will see that Brad is no longer shown to be dominant. In the shot over Lester's shoulder, Lester seems to be looking down at Brad. And in the shot over Brad's shoulder, Brad's head is out-of-focus and slightly off screen, Brad is no longer so important, no longer so powerful. And all of those sharp edges, the pointy gold pens, the massive nameplate—those have become small, unremarkable pieces of stationery. They no longer pose any threat.
Lester's posture is now relaxed and confident. He is in control.
The room is brighter. Lester is no longer trapped in gloomy darkness.
The shots are now more attractive in terms of composition and framing, and this also reflects Lester's more hopeful mindset.
He has changed, and these changes are shown through the use of a variety of cinematic techniques. In the first scene, these techniques highlight the power differential between Brad and Lester and show Lester's disappointment, frustration and vulnerability. In the second scene, they show the extent to which Lester has become more hopeful and confident.
Conclusion
In this video, I've only touched on some of the cinematic elements related to mise-en-scène and cinematography and haven't mentioned things like dialogue, editing or sound or music. There is a lot more to discuss when interpreting a scene, but hopefully this video can help you better understand how different visual elements can work together to help tell a story.
Kevin Stitt, editor "A Knight's Tale", "The Kingdom" - Craft Truck - In the Cut - S01EP19Kevin Stitt knows his action. He's edited films for Brian Helgeland, John Woo, J.J. Abram's and Peter Berg.
In this episode, he chats with us about "Payback", "A Knight's Tale", "Paycheck", "The Kingdom" and "Jack Reacher".
John Cassavetes on movie audiencesFor more clips like this, and a most enjoyable guide to pop culture, visit the blog for the NYC cult cable-access show Media Funhouse, located here:
www.mediafunhouse.blogspot.com
The actor-filmmaker discusses audience expectation, from the documentary "I'm Almost Not Crazy," about the making of his very dense, rewarding "Love Streams." This particular bit of philosophy rings truer with every passing year; he was way ahead of his time.
For more information about the Funhouse, visit:
www.mediafunhouse.com
INCEPTION - Cinematography AnalysisOne of my all time favourite film by my all time favourite director, Chris Nolan.
Director of Photography: Wally Pfister
This is a cinematography analysis on the final scene in Inception. This scene from the film has many subtle camera movements from a fixed position.
HANNIBAL - Script to ScreenFULL ARTICLE: http://vashivisuals.com/hannibal-script-to-screen/
Watch the first 5 minutes of the pilot script superimposed against the final image.
Crafting abstract visuals from creative screenwriting...
'Drive' Film Analysis - Audience InformationSUPPORT MUST SEE FILMS: http://www.patreon.com/MUSTSEEFILMS
'FREE' Film Analysis E-Book: http://mustseefilmspodcast.com
Listen on iTunes: https://itunes.apple.com/gb/podcast/must-see-films/id908138731
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Sign Up For MUST SEE FILM’S Newsletter: http://mustseefilmspodcast.com
Drive (2011) - The Quadrant SystemOne of the many pleasures of Nicolas Winding Refn’s “Drive” (2011) is that the shots feel both tightly composed and weirdly unpredictable. Even though most of the images follow a simple quadrant system, Refn puts plenty of subtle touches within the frame. Let’s take a look.
For educational purposes only. You can donate to support the channel at
Patreon: http://www.patreon.com/everyframeapainting
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Twitter: https://twitter.com/tonyszhou
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Music:
Desire - “Under Your Spell"
Mise En Scène & The Visual Themes of Wes AndersonFrom: http://waytooindie.com/features/video-essay-the-visual-themes-of-wes-anderson
Wes Anderson has become a film genre. We explore his visual themes from his work in RUSHMORE, BOTTLE ROCKET, ROYAL TENENBAUMS, MOONRISE KINGDOM, DARJEELING LIMITED, to his latest work in THE GRAND BUDAPEST HOTEL.
'Whiplash' | Anatomy of a Scene w/ Director Damien Chazelle | The New York TimesThe writer and director Damien Chazelle narrates a sequence from his film “Whiplash,” featuring Miles Teller and J. K. Simmons.
Produced by: Mekado Murphy
Read the story here: http://nyti.ms/1C1MJau
Subscribe to the Times Video newsletter for free and get a handpicked selection of the best videos from The New York Times every week: http://bit.ly/timesvideonewsletter
Whether it's reporting on conflicts abroad and political divisions at home, or covering the latest style trends and scientific developments, New York Times video journalists provide a revealing and unforgettable view of the world. It's all the news that's fit to watch. On YouTube.
'Whiplash' | Anatomy of a Scene w/ Director Damien Chazelle | The New York Times
http://www.youtube.com/user/TheNewYorkTimes
'American Hustle' | Anatomy of a Scene w/ Director David O. Russell | The New York TimesAnatomy of a Scene: David O. Russell, the director of "American Hustle," narrates a scene from his movie.
Subscribe to the Times Video newsletter for free and get a handpicked selection of the best videos from The New York Times every week: http://bit.ly/timesvideonewsletter
Whether it's reporting on conflicts abroad and political divisions at home, or covering the latest style trends and scientific developments, New York Times video journalists provide a revealing and unforgettable view of the world. It's all the news that's fit to watch. On YouTube.
'American Hustle' | Anatomy of a Scene w/ Director David O. Russell | The New York Times
http://www.youtube.com/user/TheNewYorkTimes
‘Kumiko, the Treasure Hunter’ | Anatomy of a Scene | The New York TimesDavid Zellner and Nathan Zellner discuss their film “Kumiko, the Treasure Hunter,” starring Rinko Kikuchi.
Produced by: Mekado Murphy
Subscribe to the Times Video newsletter for free and get a handpicked selection of the best videos from The New York Times every week: http://bit.ly/timesvideonewsletter
Whether it's reporting on conflicts abroad and political divisions at home, or covering the latest style trends and scientific developments, New York Times video journalists provide a revealing and unforgettable view of the world. It's all the news that's fit to watch. On YouTube.
‘Kumiko, the Treasure Hunter’ | Anatomy of a Scene | The New York Times
http://www.youtube.com/user/TheNewYorkTimes
'Big Eyes' | Anatomy of a Scene w/ Director Tim Burton | The New York TimesTim Burton narrates a sequence from his film.
Produced by: Mekado Murphy
Read the story here: http://nyti.ms/1CZmgPF
Subscribe to the Times Video newsletter for free and get a handpicked selection of the best videos from The New York Times every week: http://bit.ly/timesvideonewsletter
Whether it's reporting on conflicts abroad and political divisions at home, or covering the latest style trends and scientific developments, New York Times video journalists provide a revealing and unforgettable view of the world. It's all the news that's fit to watch. On YouTube.
'Big Eyes' | Anatomy of a Scene w/ Director Tim Burton | The New York Times
http://www.youtube.com/user/TheNewYorkTimes
'The Grand Budapest Hotel' | Anatomy of a Scene w/ Director Wes Anderson | The New York TimesWes Anderson narrates a sequence from his film.
Whether it's reporting on conflicts abroad and political divisions at home, or covering the latest style trends and scientific developments, New York Times video journalists provide a revealing and unforgettable view of the world. It's all the news that's fit to watch. On YouTube.
'The Grand Budapest Hotel' | Anatomy of a Scene w/ Director Wes Anderson | The New York Times
http://www.youtube.com/user/TheNewYorkTimes
'Fruitvale Station' | Anatomy of a Scene w/ Director Ryan Coogler | The New York TimesRyan Coogler, the director of "Fruitvale Station," narrates a scene from his film.
Subscribe to the Times Video newsletter for free and get a handpicked selection of the best videos from The New York Times every week: http://bit.ly/timesvideonewsletter
Whether it's reporting on conflicts abroad and political divisions at home, or covering the latest style trends and scientific developments, New York Times video journalists provide a revealing and unforgettable view of the world. It's all the news that's fit to watch. On YouTube.
'Fruitvale Station' | Anatomy of a Scene w/ Director Ryan Coogler | The New York Times
http://www.youtube.com/user/TheNewYorkTimes
‘Interstellar’ | Anatomy of a Scene w/ Director Christopher Nolan | The New York TimesChristopher Nolan discusses a sequence from his film.
Produced by: Mekado Murphy
Subscribe to the Times Video newsletter for free and get a handpicked selection of the best videos from The New York Times every week: http://bit.ly/timesvideonewsletter
Whether it's reporting on conflicts abroad and political divisions at home, or covering the latest style trends and scientific developments, New York Times video journalists provide a revealing and unforgettable view of the world. It's all the news that's fit to watch. On YouTube.
‘Interstellar’ | Anatomy of a Scene w/ Director Christopher Nolan | The New York Times
http://www.youtube.com/user/TheNewYorkTimes
‘Nightcrawler’ | Anatomy of a Scene w/ Director Dan Gilroy | The New York TimesThe writer and director Dan Gilroy narrates a sequence from “Nightcrawler,” featuring Jake Gyllenhaal and Rene Russo.
Produced by: Mekado Murphy
Subscribe to the Times Video newsletter for free and get a handpicked selection of the best videos from The New York Times every week: http://bit.ly/timesvideonewsletter
Whether it's reporting on conflicts abroad and political divisions at home, or covering the latest style trends and scientific developments, New York Times video journalists provide a revealing and unforgettable view of the world. It's all the news that's fit to watch. On YouTube.
‘Nightcrawler’ | Anatomy of a Scene w/ Director Dan Gilroy | The New York Times
http://www.youtube.com/user/TheNewYorkTimes
‘The Drop’ | Anatomy of a Scene w/ Director Michael R. Roskam | The New York TimesMichael R. Roskam discusses a sequence from his film.
Produced by: Mekado Murphy
Subscribe to the Times Video newsletter for free and get a handpicked selection of the best videos from The New York Times every week: http://bit.ly/timesvideonewsletter
Whether it's reporting on conflicts abroad and political divisions at home, or covering the latest style trends and scientific developments, New York Times video journalists provide a revealing and unforgettable view of the world. It's all the news that's fit to watch. On YouTube.
‘The Drop’ | Anatomy of a Scene w/ Director Michael R. Roskam | The New York Times
http://www.youtube.com/user/TheNewYorkTimes
'Under the Skin' | Anatomy of a Scene w/ Director Jonathan Glazer | The New York TimesJonathan Glazer narrates a sequence from his film.
Whether it's reporting on conflicts abroad and political divisions at home, or covering the latest style trends and scientific developments, New York Times video journalists provide a revealing and unforgettable view of the world. It's all the news that's fit to watch. On YouTube.
'Under the Skin' | Anatomy of a Scene w/ Director Jonathan Glazer | The New York Times
http://www.youtube.com/user/TheNewYorkTimes
'The Raid 2' | Anatomy of a Scene w/ Director Gareth Evans | The New York TimesGareth Evans narrates a sequence from his film.
Whether it's reporting on conflicts abroad and political divisions at home, or covering the latest style trends and scientific developments, New York Times video journalists provide a revealing and unforgettable view of the world. It's all the news that's fit to watch. On YouTube.
'The Raid 2' | Anatomy of a Scene w/ Director Gareth Evans | The New York Times
http://www.youtube.com/user/TheNewYorkTimes
'The Great Gatsby' | Anatomy of a Scene w/ Director Baz Luhrmann | The New York TimesBaz Luhrmann, the director of "The Great Gatsby," narrates a scene from his film featuring Leonardo DiCaprio and Tobey Maguire.
Subscribe to the Times Video newsletter for free and get a handpicked selection of the best videos from The New York Times every week: http://bit.ly/timesvideonewsletter
Whether it's reporting on conflicts abroad and political divisions at home, or covering the latest style trends and scientific developments, New York Times video journalists provide a revealing and unforgettable view of the world. It's all the news that's fit to watch. On YouTube.
'The Great Gatsby' | Anatomy of a Scene w/ Director Baz Luhrmann | The New York Times
http://www.youtube.com/user/TheNewYorkTimes
'Selma' Movie | Anatomy of a Scene | The New York TimesAva DuVernay narrates a sequence from “Selma,” featuring David Oyelowo and Carmen Ejogo.
Produced by: Mekado Murphy
Read the story here: http://nyti.ms/1t6Oh4p
Subscribe to the Times Video newsletter for free and get a handpicked selection of the best videos from The New York Times every week: http://bit.ly/timesvideonewsletter
Whether it's reporting on conflicts abroad and political divisions at home, or covering the latest style trends and scientific developments, New York Times video journalists provide a revealing and unforgettable view of the world. It's all the news that's fit to watch. On YouTube.
'Selma' Movie | Anatomy of a Scene | The New York Times
http://www.youtube.com/user/TheNewYorkTimes
Manhattan Edit Workshop presents: Sight, Sound & Story - Michael Kahn, ACE on Raiders of the Lost ArkEditor Michael Kahn, ACE discusses the most difficult scene to cut in Spielberg's "Raiders of the Lost Ark." From Sight, Sound & Story - June 14th, 2014.<br />
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For more information on Sight, Sound & Story please visit: sightsoundandstory.com<br />
More more information on Manhattan Edit Workshop please visit: mewshop.com
Walter Murch: On EditingThe Film & Sound Editor behind Apocalypse Now & The English Patient reveals the relationship between editing and dance, the importance of rhythm - "like telling a good joke" - and how digital film has transformed his work.
Many thanks to Sheffield Doc/Fest for giving us access to interview Walter Murch.
Find out more about the festival by visiting http://sheffdocfest.com/
Discover more about editing on BAFTA Guru: http://guru.bafta.org/craft/editing
How to Cut a Film - The Secrets of Editing - Film School'dIntercut! Montage! The illusion of continuity! All hallmarks of the edit - the point in a film’s production where a film comes together and becomes greater than the sum of its shots. SUBSCRIBE: http://goo.gl/9AGRm
Kuleshov said that film is born in the edit. And you gotta take him seriously, because he used the magic of editing to convince an audience that a blank-faced man was hungry/sad/lustful.
Later, montage showed audiences how to get in shape and learn to dance in under 2 minutes! (Of screen time). And that's the magic of film editing - understanding that comes from what isn't shown.
In less than 7 minutes (and plenty of cuts), we’ll show you just how important editing is to the creation of film: from the first stop trick to today.
What did you think - did you learn something new? Did you get SCHOOL’D? What topic should we cover next? What other movies and filmmaking techniques would you like to be film school’d in?
Let us know in the comments!
Want to know what's going on with Cinefix in the future?
Follow us Twitter for updates: http://www.twitter.com/CineFixNetwork
Oh and we're on The Facebook: http://www.facebook.com/CineFixNetwork
David Fincher - And the Other Way is WrongFor sheer directorial craft, there are few people working today who can match David Fincher. And yet he describes his own process as “not what I do, but what I don’t do.” Join me today in answering the question: What does David Fincher not do?<br />
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For educational purposes only.<br />
You can support the channel at http://www.patreon.com/everyframeapainting<br />
And you can follow me at http://www.twitter.com/tonyszhou
BREAKING BAD - Motivated Camera MovementFULL ARTICLE: http://vashivisuals.com/breaking-bad-motivated-camera-movement/<br />
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In the final episode of BREAKING BAD...there are two shots in a pivotal scene that are perfect examples of how to use camera movement to amplify the narrative and surprise the audience. With one simple pan and one simple dolly...there is a set-up and shortly after, a dramatic pay-off. The scene at first appears to be just conveying information to the viewer. Then, with one pan and one dolly move...the scene is flipped on its head and is seen in a whole new light. This could only happen through writing, direction, set design and camera movement working in unison. A Steadicam or crane shot through a window could never have achieved the emotional impact of a simple pan and dolly.
Variety Artisans: The Seamless Look of 'Birdman'On "Birdman," “Birdman,” director Alejandro Gonzales Innaritu and cinematographer Emmanuel “Chivo” Lubezki achieved something very unusual: A film that looks like one continuous shot. But of course, it’s not really a single shot. Digital colorist Steve Scott shows Variety's Tim Gray how they did it.
http://bit.ly/VarietySubscribe
Variety Artisans: Oscar Ballot Guide - Film EditingFilm editing is one of the subtlest of cinema crafts; if you notice it, it's probably not working. Oscar winning editors William Goldenberg, Joel Cox and Gary Roach explain good editing, bad editing, and how the film editor controls the audience's mind.
http://bit.ly/VarietySubscribe
The Rhythm of EditingAn analysis of the feature film Whiplash, that won an Oscar for best film editing.
First video essay done for the Master of Visual & Digital Media at IE School of Communication / IE Business School in Madrid.
Thanks for all the likes and comments, never expected! Follow me on Twitter @RobigoTV.
Mentioned in:
NoFilmSchool: http://nofilmschool.com/2015/04/breaking-down-oscar-winning-editing-whiplash
PressPlay IndieWire: http://blogs.indiewire.com/pressplay/watch-the-editing-in-damian-chazelles-whiplash-a-closer-look-20150406?fb_action_ids=10153315976378706&fb_action_types=og.shares
Cinefilos: http://www.cinefilos.it/cinema-news/2015b/whiplash-un-video-ci-raccontail-montaggio-del-film-207758
The Film Stage: http://thefilmstage.com/news/watch-25-minute-video-essay-dissects-the-rhythm-of-editing-in-whiplash/
