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A Filmmaking Blog | VashiVisuals

18

Mar
2016

3 Comments

In Big Ned

By vashi

BIG NED – The Official Trailer

On 18, Mar 2016 | 3 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

 

On 6/4/2017 SLOVAKIA released 3 stamps featuring Vaclav Nedomansky:

 

click to enlarge

click to enlarge

 

 

#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
Read more…

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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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06

Feb
2016

2 Comments

In Editing
Production

By vashi

SHOOTING RATIOS OF FEATURE FILMS

On 06, Feb 2016 | 2 Comments | In Editing, Production | By vashi

 

click to enlarge

click to enlarge

 

The Shooting Ratio in filmmaking and television production is the ratio between the total duration of its footage created for possible use in a project and that which appears in its final cut. In the Golden Age of Hollywood (1930-1959), it was normal to have a 10:1 ratio. A 90 minute feature film would have have shot roughly 25 hours of film. Certain directors like Alfred Hitchcock were known to have a 3:1 ratio so he could control the edit by leaving the studio no other options.

The shooting ratio has skyrocketed over the last 20 years. Due to the relative inexpensive nature of digital filmmaking, cameras often shoot for extended periods that cover several takes, resets and everything in-between. Film has always been associated with a more disciplined style of shooting with the camera rolling only between “Action” and “Cut”…well technically between “Speed” and “Cut”!

I have edited 9 feature films over the last 15 years and I can attest to the fact of getting more and more footage into the edit bay on every project. Here’s an infographic that compares 8 films shot over the last 35 years to give you an idea of the actual numbers and ratios.

 

click to enlarge

click to enlarge

 

Until next time…

 

vashivisuals.com

@vashikoo Read more…

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30

Jan
2016

No Comments

In Cinematography

By vashi

THE 6TH STREET BRIDGE
IN HOLLYWOOD FILMS

On 30, Jan 2016 | No Comments | In Cinematography | By vashi

 

6th street bridge

CLICK TO ENLARGE

 

The 6th Street Bridge was built in 1932 by architect Merrill Butler and is currently the longest bridge (3500 feet) in Los Angeles. On January 27, 2016 it closed down and will be demolished in the upcoming weeks. The concrete has become unstable and for safety’s sake it must be rebuilt. The 6th Street Bridge has been an iconic staple in Los Angeles motion picture history and has been used in hundreds of productions.

The last chance for the public to cross the bridge occurred January 26th.

LA Times article

I had the pleasure of shooting a film on the bridge in 2010 and the visuals and angles of downtown Los Angeles make it evident why so many filmmakers have shot this location.

 

Footage from the film PROWL that I shot in 2010.

Footage from the film PROWL that I shot in 2010.

 

No more films will be shot on the historic bridge. We only have the imagery of films such as: Terminator 2, To Live and Die in L.A., The Mask, Drive, Point Blank, Grease and hundreds of others to remind us of this beautiful bridge.

 

Enjoy this video with my favorite films to feature the 6th Street Bridge.

 

 

Until next time…

 

UPDATE:

Enjoy the experimental film 6 shot exclusively on and under the 6th Street Bridge before it was torn down.

 

6 from Gharnasi on Vimeo.

 

vashivisuals.com

@vashikoo Read more…

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28

Jan
2016

3 Comments

In Editing

By vashi

EDITING INSIGHTS:
HAIL CAESAR! and DEADPOOL

On 28, Jan 2016 | 3 Comments | In Editing | By vashi

 

Vashi Nedomansky / Tim Miller / Katie McQuerrey / Catherine Farrell

Vashi Nedomansky / Tim Miller / Katie McQuerrey / Catherine Farrell

 

Adobe Premiere Pro was used to edit two of the most anticipated films of 2016. At Sundance 2016, I was part of a panel discussing how we cut HAIL CAESAR! and DEADPOOL.

On January 23rd, 2016 I shared the stage with 3 amazing filmmakers to discuss our films. I worked with Deadpool director Tim Miller for the last 9 months on editorial for the upcoming Marvel Super Hero film. Shot digitally on ARRI, my role as Editorial Consultant was to design the workflow for the post production and train all the editors in properly using Adobe Premiere Pro. With over 1100 VFX shots, the integration between Premiere Pro and After Effects (using Dynamic Link) was critical in keeping the production moving forward.

Hail, Caesar! was shot on film by Roger Deakins and directed by Joel and Ethan Coen. Editor Katie McQuerrey and Post Production Supervisor Catherine Farrell also used Premiere Pro to edit their film. The Coen brothers have finally transitioned away from Final Cut Pro 7 which they used on the bulk of their previous films.

 

Deadpool Sundance

 

During the 64-minute panel, we discussed our filmmaking experiences with Premiere Pro and shared stories from the trenches in front of a packed house. Enjoy!

 

CLICK ON IMAGE TO PLAY

CLICK ON IMAGE TO PLAY

 

Until next time…

 

vashivisuals.com

@vashikoo Read more…

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27

Jan
2016

No Comments

In Editing

By vashi

Deadpool Pillow Talk
Sundance Film Festival 2016

On 27, Jan 2016 | No Comments | In Editing | By vashi

 

Pillow Talk with Hyla at Sundance Film Festival 2016

Pillow Talk with Hyla at Sundance Film Festival 2016

 

Super host Hyla and I talked about filmmaking and creativity while laying in a bed at the Airbnb Haus on Main Street during the Sundance Film Festival 2016.

We discussed Deadpool, Sundance, film editing and the best way to work with directors. Enjoy!

 

 

Until next time…

 

vashivisuals.com

@vashikoo

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22

Jan
2016

One Comment

In Cinemash

By vashi

CINEMASH #4 – The Revenant & The Hateful Eight

On 22, Jan 2016 | One Comment | 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.

 

 

The Revenant & The Hateful Eight both featured snowflakes on your tongue.

Until next time…

 

vashivisuals.com

@vashikoo

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20

Jan
2016

No Comments

In Cinematography

By vashi

Dramatic Filmmaking With A 2000mm Lens

On 20, Jan 2016 | No Comments | In Cinematography | By vashi

Tinker Tailor Soldier Spy (2011) directed by Tomas Alfredson

Tinker Tailor Soldier Spy (2011) directed by Tomas Alfredson

 

This beautifully executed shot from Tinker Tailor Solider Spy by DP Hoyte van Hoytema was filmed with a 2000mm lens. This massive telephoto lens compresses the foreground and background so they appear to be very close together. The mile long runway allows the approaching plane to act as the agent of impending doom as a critical secret is revealed in the plot. The 2000mm lens keeps the actors and the plane at relatively the same size and adds incredible tension to the scene.

 

 

I don’t know exactly which lens was used…but here’s a Nikon 2000mm f11 lens from 1970 as an example.

 

2000mm_2

Nikon 2000mm f11 telephoto lens

 

It is 2 feet long and weights 39 pounds. This one sold for $32,777 on eBay.

 

2000mm lens shot from Tinker Tailor Soldier Spy

2000mm lens shot from Tinker Tailor Soldier Spy

 

Creating tension and dramatic moments in filmmaking can be accomplished in many different ways. Lens choice and cinematography are the tools used in this specific example. The take-away is to put some extra forethought into your own choices before you shoot…so on the day you can confidently create impactful shots, story points and dramatic moments.

 

Until next time…

 

vashivisuals.com

@vashikoo

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19

Jan
2016

No Comments

In Editing

By vashi

Editing Deadpool with Adobe Premiere Pro

On 19, Jan 2016 | No Comments | In Editing | By vashi

 

If you’re coming to Sundance 2016 then join me for a free panel discussion on the editing of DEADPOOL and HAIL, CAESAR! using Adobe Premiere Pro.

 

Deadpool Sundance

CLICK TO ENLARGE

 

The panel is 3:30pm this Saturday, January 23rd at the AirBnB Haus on Main Street in Park City. I will be explaining how we set up and implemented the Premiere Pro workflow with director Tim Miller and how his entire post production team made the switch from Avid Media Composer to Adobe Premiere Pro. Read more…

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