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A Filmmaking Blog | VashiVisuals

The Filmmaking Strategy of HELL OR HIGH WATER

On 19, Nov 2016 | No Comments | In Low Budget Filmmaking, One Sheets | By vashi

The Filmmaking Strategy of HELL OR HIGH WATER

 

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INTERVIEW with Director David Mackenzie

 

Until next time…

vashivisuals.com

@vashikoo

My First After Effects VFX Shot (2003)

On 15, Nov 2016 | No Comments | In After Effects, Low Budget Filmmaking | By vashi

I have been editing film and video since the age of 12. Cutting footage, crafting performances and telling stories with VCRs, Steenbecks and NLEs. In 2003, I started expanding my filmmaking skill set and began experimenting with Adobe After Effects 5.5. The first time I opened it up…I expected to see explosion buttons, lightsaber buttons and muzzle flash buttons. Unfortunately not the case at all! This was a brave new world where everything had to be created from scratch so I dove in.

 

The first of many books I've bought written by Mark Christiansen

One of many After Effects books written by Mark Christiansen (2002)

 

I designed a one-take shot in my apartment so I could practice my non-existent After Effects skills. With a locked off DVX-100 and some amazing acting skills (!) I filmed myself and imported the Mini-DV footage into After Effects. I grabbed some free explosions and sparks from Detonation Films and started compositing.

 

I present to you GOOD MORNING…a 35-second VFX extravaganza from 2003 for your enjoyment!

 


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26

Oct
2016

One Comment

In Editing

By vashi

THE SHINING – Forwards and Backwards

On 26, Oct 2016 | One Comment | In Editing | By vashi

On 3/9/2011, John Fell Ryan and Akiva Saunders produced the first screening of
THE SHINING FORWARDS AND BACKWARDS, SIMULTANEOUSLY, SUPERIMPOSED. In their experimental film, they digitally re-edited THE SHINING so it plays both forward and backwards at the same time. By keeping the opacity of the top layer at 50%, the two versions are superimposed equally on top of each other. Only the audio from the forwards playing version is heard so that pure sonic chaos doesn’t overwhelm the viewers.

Somewhat shockingly, the visual symmetry of certain critical story points seemed to be more than just a coincidence.
The screen position of the actors during pivotal scenes also seem to flawlessly interweave in a graphically pleasing way. Was this planned by Kubrick (as presupposed by some) or is this just a curious by-product of happenstance and wishful thinking? Either way, the visuals speak for themselves and the viewer can see whatever they want to see within the imagery.

 

The Shining Forwards and Backwards

9 shots from THE SHINING FORWARDS AND BACKWARDS

 

A selection of scenes were featured in the 2012 documentary ROOM 237 but there hasn’t been a public screening of the experimental film in several years. There is not a full version in HD available on the internet as far as I know.
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22

Sep
2016

One Comment

In One Sheets

By vashi

Directors That Never Went To Film School

On 22, Sep 2016 | One Comment | In One Sheets | By vashi

 
 

filmdirectorsnoschoolb

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More Film Facts and Statistics on my ONE SHEET ARCHIVES PAGE
 
 
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11

Sep
2016

No Comments

In Photography

By vashi

Polaroid SX-70 – The Camera of Artists

On 11, Sep 2016 | No Comments | In Photography | By vashi

 

The SX-70 is more than nostalgia. It’s more than a hipster prop.

It’s amazing technology that gave everyone the freedom to create.

It made everyone an artist with a canvas that developed in their hand.

It taught restraint, patience and decision. 10 shots per pack then. 8 now.

An analog paint brush, futuristic tool, game-changer and camera all in one.

 

1972 - The First SLR Camera

My personal Polaroid SX 70 camera with original leather case and users manual

 

 

THE ORIGIN

In 1972 – Edwin Land created and released the iconic Polaroid SX-70 camera. He claimed 20,000 technological advancements in its design. “The tool for supplying a rich texture for memory…” is what modern architects/designers/filmmakers Charles and Ray Eames said about the Polaroid SX 70 in 1972. They were commissioned by Polaroid to produce an 11-minute film that shared the technical and emotional components to one of the most famous cameras in the history of photography. The film was first shown at a Polaroid shareholders meeting then later used as a sales tool within Polaroid. Legendary film composer Elmer Bernstein wrote the haunting score that merged together the technology and humanity. The film is a fantastic look at how the revolutionary SX-70 works and the creative opportunities it provides its user.

 

 

The official Eames Office video can be found here but it is one-minute shorter for some reason.

 

click to enlarge

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24

Aug
2016

6 Comments

In One Sheets

By vashi

FAMOUS MOVIE TITLES TRANSLATED

On 24, Aug 2016 | 6 Comments | In One Sheets | By vashi

 

When foreign countries release english speaking movies…

they make some adjustments that can be lost in translation.

 

CLICK TO ENLARGE

CZECHOSLOVAKIAN MOVIE POSTERS

 

The good, bad and ugly of famous movie titles translated.

I will try to cover as many countries as possible:
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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.
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14

Aug
2016

No Comments

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)
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12

May
2016

One Comment

In 6 Below
Editing

By vashi

Extending Premiere Pro Markers

On 12, May 2016 | One Comment | 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

 
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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!
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