A WEALTH OF FRUGAL FILMMAKING INFO
Here's 34 minutes of valuable viewing for the micro budget filmmaker.
MY 720p BEATS YOUR 4K ANY DAY
Stop the madness! Before you go off half-cocked and lay down one dime of your hard-earned income on equipment, watch this.
I've said it before, IT'S NOT ABOUT THE GEAR. It's about the story you tell with WHATEVER gear you have. It's about filmmaking, not acquiring just the right equipment. If you're not able to effectively communicate a story through the visual medium, no amount of gear will ever fill the void and make you a better filmmaker.
Major props to Ken Simpson for posting this.
THE DISSOLVE
Oftentimes a dissolve is just a momentary transition between shots. But it can also be used to make a powerful cinematic statement. Here we see seven examples of how it's been used to great effect throughout film history.
5 ELEMENTS OF A GREAT CHROMA KEY
Though there are plenty of chroma key tutorials out there, this one is done very well, as only John Hess at FilmmakerIQ can do.
HOLLYWOOD’S HISTORY OF FAKING IT: THE EVOLUTION OF GREENSCREEN COMPOSITING
John Hess covers the history of chroma key from its earliest days to present. And what a great presentation he always makes.
ALFRED HITCHCOCK: MASTER OF CINEMA
Entire film courses have been taught around Alfred Hitchcock's films. And for very good reason. This master of cinema and suspense understood the use of pacing and tension; oftentimes breaking cliched ways of filming a scene for a far more dramatic effect.
In these two in-depth interviews from 1972 he goes into detail on a selection of his works, speaking with great candor about [among other subjects] filmmaking in general, directing an audience, and his frustration working with method actors.
DIRECTING THE SHOTS FOR THE TONY AWARDS’ OPENING NUMBER
Get ready, cause this is unreal.
Here's how Glenn Weiss, the Director of the Tony's called the shots
for the opening number. True genius.
FIX IT IN CAMERA ~ FINESSE IT IN POST
Ryan E. Walters makes a very good case for getting the shot right in-camera (or at least 80-90% there as he puts it).
