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A Filmmaking Blog | VashiVisuals

24

Aug
2016

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In One Sheets

By vashi

CZECH MOVIE TITLES IN ENGLISH

On 24, Aug 2016 | No Comments | In One Sheets | By vashi

 

 

CLICK TO ENLARGE

CLICK TO ENLARGE

 

The good, bad and ugly of Czech movie translations.

The Czechoslovakian marketing teams really get creative:

 

Czech movie translations #3

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Czech movie translations #2

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Czech movie translations

CLICK TO ENLARGE

 

 

CLICK TO ENLARGE

CLICK TO ENLARGE

 

 

For more translations please read Jason Pirodsky’s ARTICLE

 

Until next time…

vashivisuals.com

@vashikoo
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16

Aug
2016

No Comments

In Cinematography

By vashi

Split Diopter Shots in THE ANDROMEDA STRAIN

On 16, Aug 2016 | No Comments | In Cinematography | By vashi

 

A Split Focus Diopter is a half convex piece of glass that attaches to the front of a camera’s main lens to make half the lens nearsighted. This lens can focus on a plane in the background and on a foreground element at the same time. To effectively apply this cinematographer’s tool a filmmaker has to plan out each shot so that both the foreground and background elements will be in focus.

 

Split Focus Diopter

Split Focus Diopter

 

The Spilt Focus Diopter creates a hyper-real visual effect that logically shouldn’t happen but somehow it magically delivers a striking and visceral image that resonates in the mind of the viewer.

SPLIT DIOPTER shots are most often attributed to Brian De Palma but director Robert Wise incorporated them into many of his films as a visual style and storytelling device, often using them more than 100 times in one film.

His split diopter shots became an integral part of the story and not just a stand-alone visual trick. In THE ANDROMEDA STRAIN, Robert Wise used 206 split diopter shots…the most in any feature film I’ve researched.

 

Director Robert Wise and DP Richard H. Kline created 206 split diopter shots

Director Robert Wise and DP Richard H. Kline created 206 split diopter shots

 

Robert Wise edited Citizen Kane. That alone is most impressive. He then went on to direct: The Day the Earth Stood Still, Run Silent Run Deep, West Side Story, The Haunting, The Sound of Music, Star Trek: The Motion Picture and 35 other feature films. On THE ANDROMEDA STRAIN, Wise teamed up again with DP Richard H. Kline, one his favorite cinematographers. They went on to film Star Trek: The Motion Picture in 1979 which had over 100 split diopter shots as well.

Wise and Kline hid many the split diopter shots that separated the focal planes by utilizing the monochromatic walls of the laboratory. The pure white, orange and gray walls were perfect for blending the in-focus and out of focus splits of the diopter. They also created several Double Split Diopter shots that created 3 zones of focus. I had never seen this technique used before and it created quite striking visuals.

 

Double Split Diopter shots

Double Split Diopter shots

 

I’ve chosen my favorite 71 split diopter shots from THE ANDROMEDA STRAIN and created a chronological video of how they appear in the film. In the pristine and clinical environment of a laboratory, the split diopter really isolates the important elements of the story. With so many computers screens and scientific devices conveying information…this technique accentuates and heightens the drama in one of my favorite sci-fi / virus / government conspiracy films of all time.

Even if you haven’t watched the film, you can still see how this distinctive look is woven into the story and becomes an organic part of The Andromeda Strain. Enjoy!

 

 

 

Behind the scenes of THE ANDROMEDA STRAIN:

 

BONUS: The Andromeda Strain Soundtrack by Gil Melié


Until next time…

vashivisuals.com

@vashikoo
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14

Aug
2016

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In Cinemash

By vashi

CINEMASH #5 – Aliens and Rogue One

On 14, Aug 2016 | No Comments | In Cinemash | By vashi

 

CINEMASH – A video essay that points out similarities in cinema.
These similarities can be visual, sonic, story or thematic.
No text or VO allowed. Maximum length of 24 seconds.

 

 

A visual homage to ALIENS (1986) in ROGUE ONE (2016)

 

Until next time…

 

vashivisuals.com

@vashikoo

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12

May
2016

No Comments

In 6 Below
Editing

By vashi

Extending Premiere Pro Markers

On 12, May 2016 | No Comments | In 6 Below, Editing | By vashi

 

Film Editing begins with organization. A feature film can have anywhere from 77 minutes of footage as in PRIMER to over 500 hours of footage shot on DEADPOOL. On both films…keeping track of the footage and making it all instantly accessible to the editor is paramount to a successful edit. On my current feature film 6 BELOW I am using markers in a new way.

 

Josh Hartnett in the survival thriller 6 BELOW

 

By using MARKERS on timelines and sequences to notate takes, scenes and memorable moments an editor can isolate specific shots or sections that all the filmmakers can use to help wrangle all the footage and help tell a clearer story with all the footage.

All editing software allows for dropping markers on timelines but I utilize one little know function inside Adobe Premiere Pro to help me mark larger groups of shots or sections of similar content. A marker is usually placed on one frame but I like to extend that marker to cover minutes or whole swaths of footage. I then assign a name to the marker and this allows me to visually spot my assets very easily inside my timeline.

Click the image below to see how to extend markers in Premiere Pro.

 

Extending Premiere Pro Markers

Extending Markers in Premiere Pro

 

By double clicking a marker inside Premiere Pro…I can extend the duration of the marker to whatever time period I need to cover a section of my timeline. This allows me to color code and name different assets which makes it easier to share my organizational system with assistants, the director and producers.

You can also grab a marker and ALT-drag to lengthen it right in the timeline.

 

Until next time…

 

vashivisuals.com

@vashikoo

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17

Apr
2016

No Comments

In Deadpool

By vashi

DEADPOOL at NAB 2016

On 17, Apr 2016 | No Comments | In Deadpool | By vashi

 

On Tuesday April 19th I will be presenting two NAB 2016 sessions. Both will share my work as post production workflow specialist and editorial consultant on the massively successful film. In both presentations I will be sharing the actual Premiere Pro timeline used to edit the film. Here is a sneak peek:

 

The actual Deadpool Premiere Pro Timeline of the Opening Freeway Scene.

The actual Deadpool Premiere Pro Timeline of the Opening Freeway Scene.

 

My first presentation is at 12:30pm Tuesday on the Adobe Stage.

I will also be moderating the Creative Master Series Deadpool panel at 4pm:

 

Tuesday April 19th at 4pm I will be moderating the DEADPOOL presentation.

Tuesday April 19th at 4pm I will be moderating the DEADPOOL presentation.

 

Stop by and say hi if you can!

 

Until next time…

vashivisuals.com

@vashikoo

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07

Apr
2016

No Comments

In Star Wars

By vashi

Rogue One Rebel Alarm ringtone

On 07, Apr 2016 | No Comments | In Star Wars | By vashi

 

If we want to be extra alerted the next time your phone rings…

Here’s a Rogue One Rebel Alarm ringtone:

 

 

 

Rogue One: A Star Wars Story coming this December:

 

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27

Mar
2016

No Comments

In 6 Below
Editing

By vashi

6 BELOW: FILM EDITING IN 6K

On 27, Mar 2016 | No Comments | In 6 Below, Editing | By vashi

 

Photos courtesy of: Scotty Waugh, Mike Svitak and Derek Edwards

Photos courtesy of: Scotty Waugh, Mike Svitak and Derek Edwards

 

I’ve just finished week 2 of editorial on the feature film 6 BELOW starring Josh Hartnett and directed by Scotty Waugh (Need for Speed, Act of Valor). This is my 10th feature film as an editor and a very welcome challenge both creatively and technically. It’s also the first feature film to be edited natively in 6K. I’m cutting the original RED 6K Dragon files (R3D) with no transcoding or proxies in Adobe Premiere Pro. We are framing for a 2.76:1 aspect ratio like The Hateful Eight and using Panavision Primo 70 lenses.

 

Vashi Nedomansky in the 6 Below editing suite.

Vashi Nedomansky in the 6 Below editing suite. Photo by Jon Carr

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18

Mar
2016

No Comments

In Big Ned

By vashi

BIG NED – The Official Trailer

On 18, Mar 2016 | No Comments | In Big Ned | By vashi

 

Vaclav Nedomansky was the first player to defect and play in the NHL.

 

10 Nedomansky Hockey Facts

10 Nedomansky Hockey Facts

 

My family escaped from communist Czechoslovakia on July 4th, 1974.

Two weeks later we defected to North America.

 

The front page of The Toronto Sun newspaper

The front page of The Toronto Sun newspaper

 

I’ve been lucky enough to group up with the freedom my parents didn’t have for most of their life.

July 4th is a very special day for my family on so many levels. I’m so very grateful and now I can return the favor and tell our story…

 

 

1979 - The first game at Joe Louis Arena in Detroit

1979 – The first game at Joe Louis Arena in Detroit

 

BIG NED is a feature length documentary film about Vaclav Nedomansky.
He was the first hockey player to defect from a communist country
and play in the NHL. In the middle of the Cold War…
He risked everything for a better life.
He’s also my father…

 

HERE’S THE OFFICIAL TRAILER

 

ESPN wrote a great article about the documentary…

You can follow the making of the film on:

The Official BIG NED Facebook page.

 

The first 21 NHL defectors

The first 21 NHL defectors

 

#BigNed

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19

Feb
2016

11 Comments

In Editing

By vashi

DEADPOOL PREMIERE PRO PROJECT TEMPLATE

On 19, Feb 2016 | 11 Comments | In Editing | By vashi

 

Deadpool Vashi

Vashi at FOX Studios in Century City for DEADPOOL screening

 

UPDATE: After I was hired as editorial consultant on DEADPOOL, one of the first things I did was create a custom 2-monitor Premiere Pro template for post production.

This was a solid starting point for all the editors and assistants before they customized it further to their liking. I designed the workspace with THE PANCAKE TIMELINE already active and a basic bin structure to keep the project organized right off the bat.

I also arranged the panels in tabbed groupings that made logical sense for our workflow and it also allowed quick full screen maximization with the tilde (`) key.

There are a limitless choice of options when you set up a workspace…this custom template was the most efficient and nimble option for our specific needs.

You can download the Premiere Pro template we used on the film below…

 

Deadpool-Template

click to enlarge

 

DOWNLOAD: VASHI’S DEADPOOL PREMIERE PRO TEMPLATE

 

RELATED: DEADPOOL PREMIERE PRO HANDHELD CAMERA PRESETS

 

Until next time…

vashivisuals.com

@vashikoo
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17

Feb
2016

2 Comments

In Editing

By vashi

DEADPOOL PREMIERE PRO PRESETS

On 17, Feb 2016 | 2 Comments | In Editing | By vashi

 

click to enlarge

click to enlarge

 

As the editorial consultant on DEADPOOL, I spent 9 months crafting the post production workflow used for the edit and also trained the entire post production team in both Premiere Pro and After Effects. Very early into the cutting, lead editor Julian Clarke asked me if we could add camera shake to certain locked-off, static shots.

This can be accomplished in Premiere Pro by manually animating the frame with keyframes or by using a 3rd party plug-in…but I wanted a real-time solution without using a plug-in. I reached out to Jarle Leirpoll , an amazingly talented editor who also creates free Premiere Pro presets utilizing the included effects built into the software. His JARLE’S PREMIERE PRO PRESETS VERSION 3 includes 98 free presets that cover both video and audio.

 

click to enlarge

Thousands of keyframes in the Hand Held Camera preset

 

Jarle created 7 custom handheld camera presets for DEADPOOL that could be applied directly onto clips and played back in real-time. Jarle shot footage with real cameras and mapped both the position and rotation of the handheld footage into his presets. It’s organic and real. It’s information captured by a human being and not the result of random computer generated data like the wiggle expression that After Effects would create. The difference between human and computer generated data may not look different viewing the keyframes…but their is an inherent honesty and palpable naturalness to ACTUAL human handheld movement compared to computer generated randomness.

 

click to enlarge

click to enlarge

 

The 7 presets are split into 2 groups with different functions. 3 presets can be used on footage with resolution that matches the sequence settings. These 3 presets will resize the footage to 104% so the edges of the frame will not show black as the footage is being moved around. The other 4 presets are for sequences where oversized footage is dropped into a smaller resolution timeline. This was the workflow for both GONE GIRL and DEADPOOL where 6K / 5K / 4K / 3K footage was edited inside a 2K sequence. This extra padding of resolution allows the handheld camera presets to move the footage WITHOUT resizing the source footage. This is the great benefit of shooting at a resolution larger than your final output as both stabilization and reframing can be accomplished without losing any resolution.

 

 

Download: JARLE’S DEADPOOL HANDHELD CAMERA PRESETS

and use these Deadpool Premiere Pro Presets on your projects for free.

BTW these presets work in all versions from Premiere Pro CS6 and later…

 

Until next time…

vashivisuals.com

@vashikoo Read more…

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