Cinematographer Style is about the art of how and why films look the way they do. It is about the influence of style, technique and technology-the art and craft of filmmaking.
I didn't know much about Andrew Loomis until I took an Advanced Figure Drawing class taught by the legendary Mark Tennant (more on this later). In his class Tennant used many examples from Loomis's books to help illustrate the basics of human proportions, perspective, composition, etc. Many of these diagrams and studies are listed in 'Creative Illustration' but unfortunately it's out of print and will set you back a couple of hundred should you want to buy a copy. So, listed below is a .pdf of the book! Enjoy
I found this website today called 'Secrets of Screen Acting'. It has some great 'sample' podcasts about the techniques of acting. You have to purchase a subscription to listen to the archives though booooo! Anyhow, it's a site worth checking out! Enjoy!
I've started a new film blog called "Behind The Scenes". I'll be posting 'Making of' and 'Behind The Scenes' featurettes from various movies as I find them. Enjoy!
The human face as we all know is SUPER complex! I've started looking around for more in depth studies of emotions and micro expressions to better enrich my facial performances. I'll be posting more about this subject over the next few weeks.
"A human being can generate 10,000 visibly different expressions but most of them you'll never see" - Paul Ekman
Emotions Revealed - KQED QUEST
*One interesting point from this vid (5:30 mark):
"Each emotion prepares the body for a specific action" meaning when a person is angry blood surges to the arms preparing you for a fight. When a person is scared blood flows to the feet preparing for an escape.
This quick lecture about "The Mini Expression" given by Pixar animators Bobby Podesta and Mark Walsh focuses on observation and slowing down actions in order to analyze them.
I saw District 9 a couple of weeks ago and was blown away by the gritty realism of the environments and the aliens. The story was decent but could have used some more work. I do hope there's a sequel though and from what I hear it might be in the works!! Enjoy this featurette I found over on WIRED:
The article posted below is very troubling -- I'm about to go on vacation so I can't write much more but I'll update this post when I get back from the UK!!
"A great actor withholds information. Dustin Hoffman in All the President's Men can sit there and do nothing. No animator would ever allow that, they would put in a twitch. So our objective was to preserve Sam Worthington's performance and have that be what you see in those characters."
Last night was a rare treat! Tiff and I got to see a brand new print of Stanley Kubrick's film 'Dr. Strangelove' on the big screen! And as the 'icing on the cake' Brad Bird introduced the film and gave a great Q&A afterward! He talked a bit about the legendary design of the 'war room' created by Ken Adamand explained how Kubrick was ahead of his time in his use of handheld cameras, comedy approach, storytelling, and production techniques. It was a fantastic night and very inspiring! Also, I found the 'making of Dr. Strangelove' and will posting those shortly!
I saw these notes the other day and found that some of them applied to animation. Despite being directed toward live action actors - many of the sample principles and directions apply to the animation industry. Most of the notes are common sense but it's always good to brush up on the basics. You might find a few nuggets of gold in there as well!
I took the liberty of editing these notes down to the pure meat so some sections might be out of order:
The Gobelins School is something of an anomaly when compared to other schools that teach animation. There is really no comparison except maybe Cal Arts (on a good year). The short animated films that come out the Gobelins school are really fantastic and convey a look that is clean, professional, and polished. There is however a definite animation style the flavors most of these films. I remember when "Burning Safari" came out a couple of years ago and I loved the 'snappy' style of animation. But what seems to be a reoccurring theme in most of the Gobelin films is fast action and editing. In most all cases the animation is spot-on and so is the editing but it looses it's uniqueness when every other film is featuring these same themes. For example the film "Octopodi" has an immaculate chase scene at the end (which is finely animated I might add) but it still slips into that fast action fast editing mode that many Gobelin films feature. Don't get me wrong because I love the action and camera work. It just makes me wonder why so many of the films end up using these techniques as a major part of the story or as a crutch to help support the film when it lacks a story. Any thoughts?
I found this basic animation breakdown for 4 legged animals over on Animation Meat a while back. Cool stuff -- nice reminders for line of action, anatomy and simplicity of form. Animating and Drawing 4-Legged Animals.PDF -- via Animation Meat
This is a great little featurette hosted by the great Eric Goldberg. It offers some basic incite into the benefits of storyboarding in both live action and animated feature films.
So if any of you are Miyazaki fans like I am you'll really get a kick out of the press conference video that's been posted by Jerry Beck over on Cartoon Brew!
Luckily my wife and I got a chance (once in a lifetime!) to see Miyazaki at a sold out lecture he gave in Berkely last Friday. I'll post some notes from that talk later but for now be sure to check out the vids over on Cartoon Brew!
So, despite the fact that the interview is a bit awkward and poorly edited Chuck has some great things to say about the industry and his life! Great stuff here!
It's in 3 parts and unfortunately embedding isn't allowed :P
Hans Bacher has posted some great visuals illustrating his articles on style. This series really caught my eye. I love how these quick drawings breakdown the volume, form, and posing of Mulan's horse Khan.
This is a really great lecture from TED about the VFX of Benjamin Button. My wife and I got to see a special screening of the film at Skywalker Sound a couple of weeks ago. After the film was over there was a Q&A with Craig Barron who was the VFX sup for Matte World Digital. He gave some great insight into the development of the cg environments and compositing that MWD provided for the film. Congrats to Craig and his team for the Oscar win last night!
This lecture however focuses on the techniques and processes Digital Domain used in creating the cg Benjamin head for actor Brad Pitt.
I was digging through Mark Kennedy's blog today and found that he had posted a great section on composition. Included in his 2 posts were scans from Andrew Loomis's book "Creative Illustration" and scans from Famous Artists Course book.