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A Filmmaking Blog | VashiVisuals

18

Dec
2016

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In Star Wars

By vashi

ROGUE ONE – 46 SHOTS NOT IN THE FINAL FILM

On 18, Dec 2016 | No Comments | In Star Wars | By vashi

 

46 shots not used in Rogue One: A Star Wars Story

46 shots not used in Rogue One: A Star Wars Story

 

THE FILM

I just got home from watching ROGUE ONE: A STAR WARS STORY and am still electrified with the exhilarating experience it provided. In my opinion it is the first STAR WARS film to recapture the spirit and feeling of the original STAR WARS (1977). Even though it is classified as a one-off and stand alone story, it transmitted to me the euphoric feeling and impact of the original film that I saw in the theaters 5 times much to the chagrin of my mother who took me each and every time.

 

As a film editor, I understand the marketing and have helped in creating the trailers for the 10 feature films I have edited. I have also worked with several trailer houses in Los Angeles that cut the trailers that we all consume in the theaters and online. The specific skillset and mindset that an editor must adopt to live in the world of movie trailer editing is no small task. The notes from the studio, producer, director and countless other people boggles the mind in terms of volume and contradictory requests. The trailer game is an ever-changing pursuit that tries to stay ahead of the intelligent public but must also find new ways to tease, cajole and intrigue. Get the asses into the seats! Show scenes that aren’t in the film. Manipulate dialog and visuals to make a scene more interesting. Shift the order of shots to make it more interesting or compelling. Add music not in the film to hit an emotional beat. Use every trick in the book to make an effective trailer.

 

THE TRAILERS

ROGUE ONE: A STARS WARS STORY used one teaser, 3 trailers and several BTS promos to build a world that STAR WARS fans would hopefully want to visit and share in the experience. With the reshoots and adjustments that Gareth Edwards, Tony Gilroy and the studio made on the film, a lot of the footage in every incarnation made the final cut…but a lot of it never made the final cut. I have isolated 46 individual shots that were shared in the promotional material but never made the final cut of the film. The goal of the promotional push over the months leading up to the release of the film on December 16th, 2016 had one ultimate goal…to attract an audience.
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08

Dec
2016

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In Screenplay

By vashi

HEAT – Script to Screen

On 08, Dec 2016 | No Comments | In Screenplay | By vashi

 

HEAT - Script to Screen

HEAT – Script to Screen

The 4K restoration of Michael Mann’s seminal Los Angeles crime film HEAT (1995) is on the verge of being released. I wanted to revisit the titanic acting showdown between Al Pacino and Robert De Niro in their first ever on-screen scene. The two legends square off in a 6-minute and 17-second scene that alternates between only two over-the-shoulder close-ups. Michael Mann shot a wide profile shot with both actors in frame…but chose to stay within the intimate close proximity the close-ups provided.

Michael Mann’s attention to detail is clearly visible in his annotated script that stresses the importance of this pivotal scene. I have merged the written page with the film footage so you can analyze and learn what made the final cut, what was improvised and what was left out. I’ve also added some trivia nuggets into the video from the production of the scene. Enjoy HEAT – Script to Screen.

 

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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

 

CLICK TO ENLARGE

 

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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CLICK TO ENLARGE

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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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