Production Archives - Page 4 of 4 - Blog
Digital Video is the de facto capture medium for almost all productions these days. The cost, ease and immediacy are all significant factors that make it so appealing. The visual aesthetic of film is the ultimate goal for many filmmakers and there are many methods, on every budget, that can be used to achieve it.
I still shoot a lot of narrative work with the Canon 5DMKII and I know the camera inside out. I know its strengths and weaknesses but ultimately love the full frame look it delivers and its ease of use. My main picture style has been VisionColor for its gorgeous skin tones and VisionTech for its lifted blacks that retain color info for later grading. I wanted to try out VisionColor’s new LUT package ‘OSIRIS’. I bought OSIRIS to test out the 9 film stock and color emulations it offers. To my eye, they are very cinematic and organic feeling.Read more…
A Split Focus Diopter is half convex glass that attaches in front of the camera’s main lens to make half the lens nearsighted. The lens can focus on a plane in the background and the diopter on a foreground element. In the 1970’s and 1980’s, Brian De Palma championed the use of this tool to enhance the visual and emotional experience of his films.
The Split Diopter allows for Deep Focus cinematography but requires much less light. It also delivers a distinctive look that blends sharp and out-of-focus imagery all in one frame. Subjects in both foreground and background can be kept in focus. In the video below are all 15 Split Diopter shots from Brian De Palma’s film Blow Out (1981).
Go Daddy has long been known for it’s sexy commercials with big breasts and racy double-entendres. Their latest commercial has a baker kneading dough, Jean Claude Van Damme and a catch phrase. It is simple, smart, funny and demonstrates that an effective commercial does not need a million dollar budget. This commercial could have shot on an iPhone. I mean that as a compliment to the production. Therein lies the beauty…it’s the writing, set design, editing and planning that makes it so amazing. Ad agency Deutsch has just launched this new spot that redefines Go Daddy.
Go Daddy has gone back to basics and told a funny, visually compelling story that delivers their specific message in the most bare bones way. Every filmmaker and storyteller can learn some lessons from this perfect 30-second spot. I would like to break down the specific elements that make it work so well. As an editor of numerous national commercials and feature films…I want to share with you the secrets of what makes this ad so effective.
Every Filmmaker owes a debt of gratitude to the people in “The Industry” who have come before them. Every creative or technical decision you make on your film, TV show, webisode, short film or documentary has probably been made a multitude of times in the past. The “Bolt of Lightning” idea that struck you in the middle of the night has most assuredly been thought of and implemented during the last 100+ years of Filmmaking.
We stand on the shoulders of giants and I take every chance I can to learn more about the history of filmmaking. The Media History Digital Library has just launched their search platform Lantern which contains 800,000+ pages of digitized texts from publications of film, broadcasting, and recorded sound. Brew some coffee and timewarp into the past to learn more about every aspect of Filmmaking than you could possibly imagine!
In filmmaking, sometimes the simplest solution will be the cheapest, most realistic and easiest. This doesn’t happen often…but when it does, embrace it and enjoy it. In a world where CGI seems to always be the first choice…models and miniatures offer realism and immediate feedback in-camera to let you know if you got the shot. There is a rich history of miniatures and practical visual effects in Hollywood and it will always be a major component of filmmaking at every level. In ‘Close Encounters of the Third Kind’, Steven Spielberg used a model ship in the Mojave Desert of California to double for the Gobi Desert of Mongolia. By placing it close to the camera and using a wide lens with deep-focus…he sold the size and scale of an impossible scenario that visually awed the audience. The secret? Forced perspective…No green screens or computers needed.
Cinefex is an amazing quarterly magazine that came out in March 1980. Growing up…I remember trolling my local bookstore in Detroit and always hoping that the new edition of this square magazine had arrived. It was my first opportunity to see behind-the-scenes photos of current movies and in-depth interviews with the filmmakers involved. The techniques and secrets revealed in Cinefex are as relevant and useful now as they were 30 years ago. Every filmmaker should get their hands on a copy…and now it’s going to be easier to do that.
I expect to see an onslaught of 3-axis handheld gimble stabilizers over the next couple months. Rotorview Sweden has one available now for $4000 US. It offers quiet brushless motors and aluminum/carbon construction with a load limit of 3.3 pounds. That’s enough for most DSLRs or the Black Magic Pocket Camera and a prime lens. Check out the video sample below for the ultra-smooth-ostitude!
Welcome to the launch of my first official info packed blog post for my new site! My name is Vashi Nedomansky and I’m a feature film editor based in Los Angeles who embraces filmmaking, technology, life and all things that put a smile on my face. I’ve cut films for David Zucker, Vincent Laforet and edited more than 25 projects for Shane Hurlbut ASC…all after I played 10 years of professional hockey. I love a good challenge, a great meal and a cold vodka gimlet at day’s end.