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Directing Your Actors After the Cameras Have Stopped Rolling
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Written by John Badham
Congratulations. You’ve finished shooting. However, completing your last take is by no means the end of your work with your actor. There is still editing and ADR (automated dialogue replacement) to be done. Treat these steps lightly, and you’ll get a nasty surprise. You need to draw on all the skills, manners, tricks and psychology that you used working with your actor on a set...
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 UNAFF 2021
International Documentary Festival
SUBMIT YOUR FILM to the 24th UNAFF which runs from October 21-31, 2021 in Palo Alto, East Palo Alto, San Francisco and Stanford University. Founded in 1998 by Jasmina Bojic, film critic and educator, UNAFF (United Nations Association Film Festival) is one of the oldest documentary film festivals in the US. UNAFF celebrates the power of international documentary films dealing with human rights, the environment, refugees, famine, homelessness, racism, disease control, women's issues, children, universal education, war and peace. This year’s theme is MOVING FORWARD.
More details at www.unaff.org/2021/submission.html
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Important Keys to Successful Handheld Camerawork
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Written by Michael Rabiger
How you shoot handheld footage—whether documentary or fiction—can either mesmerize or irritate your audience. For great handheld work, see an episode of Carrier (2008) or any Maysles Brothers film. For work that misses the mark, surf YouTube. Here are some keys to successful work.
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Result Directing: Working with Your Actors
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Written by Gleb Osatinski
I always thought thinking about the final result in directing with actors is the most important thing on the set. How it works – I know exactly what I want the actors to look like and how they should sound like, and I do have a clear picture inside of my head when I go to the set. Once actors become close to the final image I have, I consider my job done. I call this image that appears in my head when I read the script my directorial vision… However, I started to ask myself, is this the right way to go, and could this impose a problem?
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Art, Dance, and Capturing the Quality of Movement
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"Location! Location! Location! I think if you have an interesting or sometimes a breathtaking location, it inspires you. It gives you an idea about a look and a first concept of lighting. It gives your protagonist or performer an atmosphere so they can react to it. And sometimes it gives you even an idea. From a production point of view, it helps you to save money in the Visual Art Department, technical equipment and in Post-Production."
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Make Your Comedies Stand the Test of Time
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Written by David Landau
What makes some comedies stand the test of time while others fade as fast as the news in Daily Variety? Theme. I can honestly say I've never had a development person or a producer ask me what the theme of any of my work is. But it's there all the same. If it weren't, they probably wouldn't get past page five or even ask to read it. I believe theme is even more important in a comedy than in a drama. Elaine May's “The Birdcage”...
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How to Find Your Voice as a Screenwriter
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Written by Julia Camara
Something I heard a lot as a new screenwriter was this talk of a "writer’s voice," and whether it was a strong voice, an interesting voice or an intrusive voice. Like many other concepts around screenwriting, I always thought this one was a bit elusive and abstract. How can I, the screenwriter, have a voice...
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How Screenwriters Can Think Like Film Editors
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"Film screenwriters and film editors have more in common than many realize. They both are working to tell a story, but each uses different tools. The writer uses premise, character, structure, genre and tone. The editor uses shots, sounds, scenes and sequences. Screenwriters organize the story through the protagonist's character arc. The editor works with the director's translation of the script via performance and the camera. If the director has coaxed out an important subtext, the editor adds that dimension together with his main goals, narrative clarity and dramatic emphasis."
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It’s All About the Story
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"Every culture, regardless of history or geography, tells stories. It is the primary activity that separates us from all other animals on the planet and which connects us all as human beings. And when you look at the stories that have stood the test of time, from Oedipus Rex to the latest Star Wars blockbuster, you start to recognize certain patterns and recurring principles, with regard to structure and character and theme, which tells us that there must be something built into our DNA that requires us not just to tell stories, but to tell them in a very particular way. That's because storytelling is much more than an entertainment, it fulfills an important..."
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20 Inspirational Film Directing Quotes for Filmmakers and Storytellers
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"You keep on learning. It doesn’t stop. I think the minute I stop feeling that I’m going to, you know — stop learning — I would stop being a filmmaker."
~Deepa Mehta
"I’m not a master; I’m just a hard-working filmmaker. I would like everyone to see me as a friend rather than a master."
~John Woo
"Create your own visual style. Let it be unique for yourself and yet identifiable for others.
~Orson Welles
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A Staple in Hollywood for Generations –
Tiffen Diffusion Filters
Tiffen’s diffusion filters have been helping cinematographers create their look for generations. These filters can be used for lifting contrast and creating halation or glowing effects to specular light sources in a scene. They can also be used for reducing blemishes and wrinkles on talent by reducing the resolution of the image. These filters have been a staple in Hollywood for generations and continue to help cinematographers create the look they want, in camera.
Interested in learning which filter is best for you? Learn more about our diffusion line. |
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Chandler International Film Festival
ISAFF:
