Mohd Suhail’s Post

What is ‘Big Concept’ movie? Part 2 3. GOOD CINEMATOGRAPHY – frame composition, scene lighting, camera movement and angle, actors’ movement, costumes, props, location, ... collectively all these contribute to storytelling making the narrative more convincing or captivating, especially on big screen. This creates a visual treat for the audience, binding them to the story. When viewed in good theatre, movie experience is elevated many folds. 4. EXCELLENTLY CHOREOGRAPHED ACTIONS – timing plays significant role, down to microsecond. I saw the editing timeline of ‘Baby Driver’ where there are clips just four to six frames. Considering 24 frames per second (FPS) each frame is 41.67 millisecond. This makes the scene very impactful and brings the dynamics of the action to the sitting audience. To get those perfect few frames, action must be choreographed precisely. 5. EXCELLENT EDITING – this is extremely important. This is where the directors fine tune their final presentation. Interestingly there are movies which were edited before shooting! ‘Baby Driver’ directed by Edgar Wright and edited by Paul Machliss and Jonathan Amos. If you have missed the movie at least watch the trailer. Protagonist is a getaway driver suffering from Tinnitus. To cancel it out he constantly listens to music. So, the entire movie, including actions are edited on the beat of music. Result is mind blowing. The timeline in editing software were pre-marked for shots. The director will shoot the scene and send it to the editor. If that fits in the timeline, they shoot the next else shoot again. It was time consuming and laborious but worth. This made the action scenes come alive! 6. QUALITY VISUAL EFFECTS (VFX) – simply put, these effects need to be seamless and convincing. VFX can be digital or practical or both. Digital is what we do in computer while editing or as we call it ‘Postproduction’. Practical is what is really done during shooting. Mission Impossible is one good example where they prefer practical effects and refine it later digitally. Say a scene, where the protagonist jumps off the mountain cliff, is performed by the actors or their body double and shot on location. All safety norms are followed. The performers are supported with wires, pads, air bags, and so, for safety, which if visible are removed digitally during postproduction. Now we have ‘Unreal Engine’ a software, in which we create our own location with the required infrastructure. This is projected on large video display panels. The actor(s) is surrounded by multiple panels. These scenes react to the camera movement, making the whole thing extremely close to realistic, saving huge on time and money. Since no one need to go to the location. #bigconcept #movie #boxoffice #cinematorgraphy #directors #idea #editing #VFX #thoughfulthoughts #opinions #creative

This week on LinkedIn I'm sharing 10 cinematography habits to save you DAYS in the edit! A couple each day. Here's day 1! #1 - THE HOLD HABIT. Back when I was first starting out as a filmmaker, I’d get out there for a shoot and be so eager to get as many different types of shots as possible. And not in a good way. I just didn't really trust any single one of the shots I am getting right now, so I thought, let me just get a bunch of options and hope I find something I like in the edit. Combine this with the feeling of not wanting to shoot too much overall footage that I would have to wade through in post production, and the result? Well, time and time again I’d get into the edit and the camera was just bouncing around all over the place. I would hardly have any moments where I could leave a clip on screen for like 5 seconds before suddenly I was moving the frame to something else. Everything felt frantic. Nowadays I make sure that whenever I am shooting anything, even if I am almost certain a clip will only be used for a split second, I hold on that frame for 10 seconds. Literally any type of shot. Just get in the habit of holding for 10 seconds so that you have flexibility in the edit. If you start a clip, but then reframe, start your count again. I’m always just counting silently in my head. Breathing and being patient This is also important when you are going to pan, tilt or zoom. Start shooting with your camera still. Hold on that image for a 10 second silent count, then pan, tilt or zoom in one fluid motion, coming to rest on your end image and hold on that image for another 5 seconds. Give yourself options. Maybe you thought a pan was perfect while shooting, but in the edit, it doesn’t feel right. You’ll be grateful you gave yourself a still frame to work with. #2 - THE REACTION HABIT When we are shooting conversations between two or more people, it’s so tempting to always follow the action of the speaker. Almost like we are following the ball in a soccer game — only filming the person who is speaking. But when we do this, conversations become a mess to edit because we never have anything to cut to when we are editing the conversation. That’s why you need to make sure to film reaction shots from the person or people listening. This goes for conversations and it also goes for presentations in front of an audience. Use your intuition to transition from filming the speaker to the audience, use the hold habit for 10 seconds, and then you can think about what’s next. And this isn’t just about getting cutaways. Reaction shots add depth and meaning to a scene. A scene is much richer when you not only hear what someone is saying, but you understand how the person listening feels about whatever is being said. Stay tuned for more tips! #documentaryfilmmaking #documentary #filmmaking

What Is a Fisheye Lens? https://ift.tt/ry5iXnp There's nothing more fun than working in a visual medium. You get to spend time coming up with the way things appear on the screen and how those appearances will emotionally affect the audience. One of the ways filmmakers manipulate footage is by using a fisheye lens. But if you're new to filmmaking or cinematography, you may not know what a fisheye lens is, and we want to fix that. These are camera attachments that can really add some spice and vigor to your shooting style. They're unexpected and beautiful. Today we're going to go over these lenses. We'll see the definition, as well as some examples of fisheye lenses and learn why filmmakers use them in their work. Sound good? Let's get started. What Is a Fisheye Lens? Definition and Examples for FilmmakersI Lens choice is one of the most popular topics we write about on this website because everyone is looking for the "right" answer. In actuality, they should let the stories guide them. When is it right for the story to use a fisheye lens? Let's dig into the definition to find out. Fish Eye Lens Definition A fisheye lens is a camera lens that shoots extremely wide angles. It typically has a width of 180 degrees, referred to as a “super wide” or “ultra-wide.” The aim is to create a wide panoramic or hemispherical image. What sets a fisheye lens apart is that it produces an image that will appear warped. It can feel vibrant and abstract. There are circular and full-frame fisheyes. 'The Favorite' Credit: A24 The History of the Fisheye Lens In 1906, physicist Robert W. Wood came up with an invention that was supposed to mimic how a fish would see the world underwater. People enjoyed using this lens, which gave a brand new perspective to the world. In the 1920s, it was used to study cloud formations by meteorologists as well. But in terms of Hollywood, the lens wasn't used prominently until the 1960s. This caused it to be mass-produced, and it's why it is still around today. What Does a Fisheye Lens Do? Many cinematographers and directors employ fisheye lenses to shoot extremely wide shots like landscapes, the sky, and even shots into space. There are also many creative ways to use it. You can point it at skyscrapers and artistic sculptures, use it in extreme sports, and even use it in film and TV. You can use them with any camera angle and camera movement. The distorted photography they produce can play with scale and shape. You can change how an audience feels about space by slightly warping what they're used to seeing. Credit: Nikon What Are the Types of Fisheye Lenses? There are two types of fisheye lenses, and each produces a very different effect. Circular Full-frame Circular Fisheye Lenses This is the lens that captures a full 180° view, and it does it in all directions. There are no edges to this lens. You get a circular image with a black ring. Circular fisheye lenses The Peleng 8 mm f/3.5 circular...

How do you source the best local crews while ensuring your production maintains the quality you need to tell your story? Drawing on years of experience working with crews across the globe, from the US to Canada, South America, Asia, and Europe, I've directed and produced countless shoots for clients. Each project is unique, but a common thread is our reliance on local crews. We develop our creative concepts and storyboards in close collaboration with our clients. Then, we execute these plans with vetted local crews. Typically, only one key team member—either the director or the producer—needs to be on-site. Our clients can trust that the production will maintain the high production value and quality that define Satellite Film and Video. *** How do we ensure these crews meet our high standards for cinematography, audio, and lighting? It's a refined process that we’ve perfected over the years. It starts with reviewing work samples and references from prospective crews. We conduct thorough interviews to assess their compatibility, subject matter understanding, and the quality of their work. At Satellite Films, we've produced nearly a hundred shoots in Europe and Asia and close to three hundred in North America. This extensive experience has allowed us to build a trusted network of local crews in almost every major city. Whether the shoot is at a lab, a company, or any facility, we have the local resources to make it happen seamlessly. Every project upholds the high quality that Satellite Films is known for. For our clients and collaborators, this means avoiding additional travel costs while retaining the creative expertise of your agency. This approach is our superpower, allowing us to keep costs down for our life science and technology customers while delivering exceptional production value. In the comments is a video we produced for GenScript, the story of their RNA service line. Developed with Satellite Films, and executed with me and and a local crew. What has been your experience with local crews? Do you rely on local talent or prefer to fly in your production team? Sarah Whitaker Eric Forthun

What Is a Gimbal? https://ift.tt/NPov4lT Camera stability matters. Whether you're shooting a music video or TV episode or web series or a movie, when it comes to making sure your shots are on point, you might want to get a gimbal. But what is a gimbal? And why are so many cinematographers using them for their camera movements? Today, our goal is to give you a base-level education into what a gimbal is and how you use one. We'll go over the definition and look at some tips for you to use on set. We'll also check out different ways you can use your gimbal to spice up your shot selection. Sound good? Let's get started. What Is a Gimbal? (Definition and How Do You Use One) If you've been shooting long enough, you've heard the term "gimbal," but there's a high chance you may not know exactly what it is or what it can do. There are so many applications. You're going to want to know all this stuff. Gimbal Definition A gimbal is a pivoted support that allows for the rotation of an object about an axis. Most gimbals will either be two-axis or three-axis. The 3-axis is superior but much more expensive. For cinematographers, handheld three-axis gimbals are used in stabilization systems. They are designed to give the camera operator the ability for handheld shooting but without the camera shake that comes with it. Pitch, roll, and yaw—or tilt, roll, and pan There are lots of terms when it comes to understanding how gimbals work. Some of them are the pitch, roll, or yaw axes. They refer to the points which allow the gimbal to stabilize. The pitch axis is also called the tilt axis. It’s the up-and-down movement of your camera. The roll axis refers to the movement that feels like standing in a boat on the water. Left-to-right movement happens around the yaw axis, or the pan axis. It’s used to capture objects that move horizontally, as in a panning shot or tracking shot. Pitch, roll, and yaw – or tilt, roll, and pan Credit: GregorDS How Does a Gimbal Work? Gimbals work in tandem. They have three mounted circles with orthogonal pivot axes, which allows an object mounted on the innermost gimbal to remain independent of the rotation of its support, like a camera. These moving pivots of the camera mount utilize quiet mechanical or brushless motors that make micro-adjustments to the arms so the footage you get is steady. There are two versions of such stabilization systems—mechanical and motorized. Mechanical Gimbals Mechanical gimbals have a sled on top of the handle. A sled is a flat top stage where the camera is attached. They also have a post arm, which can be extended. The monitor and camera batteries counterbalance the camera weight. It's the same basic principle of the Steadicam. The bottom is slightly heavier than the top, so the top stays stable. And in a gimbal, the top can pivot and have a range of motion thanks to the mechanical head that moves. This gimbal head allows for a wide range of motion. Motorized Gimbals ...

What is Deep Focus? https://ift.tt/AqtZbuo What do you know? My parents got a sweet new 80 inch TV and and I couldn't resist but to immediately flip on Stanley Kubrick's 2001: A Space Odyssey. Obviously 2001 is one of the greatest movies of all time., but one of the things that inspired me to see it on the big screen was the deep focus Kubrick used in some of notable space scenes. But, hey, guess what? You don't have to be Stanley Kubrick to use deep focus in your projects. Today, I want to go over the idea, the implications, and look at some examples of it in cinema. It's a powerful cinematography technique that can significantly enhance your storytelling. HAL, Let's dive in. Deep Focus Definition Deep focus is a cinematographic technique that renders all elements in a frame—foreground, middle ground, and background—in sharp focus. This is achieved by using a large depth of field, which refers to the range of distance within a shot that appears sharp. It's like viewing the world through a wide-angle lens, where everything is equally clear and detailed on the screen. Why Use Deep Focus?  When it comes to putting everything into focus, deep focus is where it's at. An image with deep focus has the background, mid-ground, and foreground all in focus, and everything is visible. The most classic example of deep focus is Citizen Kane. More modern entertainment includes HBO's A Plot Against America where cinematographer Martin Ahlgren used deep focus to tell an alternate universe where famous aviator Charles Lindbergh (a Nazi sympathizer) won the 1940 presidential election over Franklin D. Roosevelt. When it comes to creating shots with deep focus, you'll need to understand aperture and use larger aperture settings on the lens to create the look. What's unique about having a film with deep focus is that the audience is immersed in the story but also in the environment. Viewers connect with the production design, lighting, and set decoration. It invites them into the space and allows them to look around. And when they watch it again and again, they'll see new things in a scene. Because of that, deep focus affects your compositions. You have to make sure all the elements in the frame don't distract from the story or call attention to inaccuracies. For example, if it's a period piece and we see modern cars in the background, it's not going to make any sense to the audience. You simply can't hide anything with deep focus framing. But when it comes to visual context, you can use deep focus to your advantage. How? If your entire project is in deep focus, your viewer will start to connect with that visually. Then, when the moment is right, you can use a shallow focus to emphasize a plot or character point. The audience will feel it, but they won't necessarily know why. You can do the opposite with a project that heavily uses a shallow focus. Why else should you use Deep Focus? Enhanced Visual Storytelling: Deep focus can...

One of my favorite contemporary companies is A24 studio. What they have done and are doing is unique! Their business model is just mindblowing for me. How can a movie studio actually have a cult following? It goes against everything we know. How can a studio have fans and followers like film directors or actors do? How is it possible? As one of the admirers of this company, I want to mention some points that make me an absolute admirer of this studio: 1. From the very beginning, they introduced us to then-unknown geniuses of cinematography like Ari Aster and Robert Eggers. 2. They maintain their movies' standards and thus have created their own signature or style. Movies of cinematographic beauty always with a hidden meaning, incorporating horror and arthouse elements. 3. Thanks to that, they act like a film director, if you know what I mean. You can easily take a list of their movies and think that all of them were made by the same director. Not because they look like copy-paste, but because the ideas and philosophy at the core of the films are very similar to each other. Their model is really fantastic. No other film studio has such a pronounced style and principles of cinematography. I always know that if a movie is from A24, it should be something extremely interesting. Until now, I have been disappointed just twice. This model shows a lot of interesting things to me as an entrepreneur. Here are my most favourite films from A24. If you see some of these movies, you will understand my thoughts. The Zone of Interest by Jonathan Glazer Beau Is Afraid by Ari Aster Past Lives by Celine Song Men by Alex Garland The Lighthouse by Robert Eggers Uncut Gems by Safdie brothers Enemy by Denis Villeneuve Ex Machina by Alex Garland The Witch by Robert Eggers The Lobster by Yorgos Lanthimos Hereditary by Ari Aster Climax by Gaspar Noe Midsommar by Ari Aster I also absolutely in love with their following movies: Under the Skin by Jonathan Glazer It Comes at Night by Trey Edward Shults A Ghost Story by David Lowery The Florida Project by Sean Baker The Killing of a Sacred Deer by Yorgos Lanthimos Lady Bird by Greta Gerwig The Farewell by Lulu Wang Lamb by Valdimar Jóhannsson The Tragedy of Macbeth by Joel Coen The Sky Is Everywhere by Josephine Decker After Yang by Kogonada X by Ti West Pearl by Ti West Aftersun by Charlotte Wells The Whale by Darren Aronofsky Talk to Me by Danny and Michael Philippou The Iron Claw by Sean Durkin Everything Everywhere All at Once by Dan Kwan and Daniel Scheinert #a24 #cinematography #filmindusrty #film

Let's chat about the unsung hero of cinematography - the mighty wide-angle shot! 📽️✨ Did you know that many iconic filmmakers harness the power of wide angles to captivate audiences? 🤔 From creating immersive scenes to offering a panoramic view of the action, wide shots are a game-changer. Wide angles invite the audience into the heart of the action, ensuring they don't miss a beat. It's like having a front-row seat to the storytelling spectacle! 🎥🍿 Full Immersion: Ever felt like you're right there in the scene? That's the magic of wide angles, pulling you into the cinematic experience. Context is Key: Wide shots provide a complete picture, giving the audience context for the unfolding story. It's like seeing the whole puzzle before putting the pieces together! Emotional Connection: Filmmakers use wide angles to evoke emotions, creating a visual language that speaks directly to the viewer's heart. Think about your favorite films or shows – chances are, many of them utilize wide-angle shots to enhance the storytelling experience. It's the subtle wizardry that makes movie moments unforgettable! 🌈📸 So, the next time you're watching a film, keep an eye out for those wide angles. They're not just shots; they're the secret sauce behind the movie magic! ✨🔍 What's your take on wide-angle shots? Any favorite film moments that left you in awe? Share your thoughts below! Let's celebrate the art of visual storytelling together! 🗣️🎉 #CinematicMagic #WideAngleWonders #FilmAppreciation

Sometimes, it’s hard to remember that every single part of a film is fake. Filmmakers manipulate what we see, how we see it, when we see it, and what we think it means. This has always been true, but the layers can become even more granular since the advent of digital cinematography, non-linear editing, and sound that can meld as many layers on a timeline as a designer wants. But one of the most powerful and often misunderstood tools is the LUT, or the look-up table. What are they, how do they affect the color and light of a filmed image, and why did “Barbie” have three of them? 

WATCH KISMET on Vimeo. https://lnkd.in/eWyiE5wV Is a multichannel audio-visual interactive installation that explores the boundaries of perceptual reality. It embarks on a quest to stretch into the unknown- a realm discussed since the beginning of times.The project aims to establish a visualised intermediate space, for investigating the intersection between the grief of the material and between the resilience of the eternal essence.  Themes and questions:  Control is a myth that relies only on the material- for its own delusional sake. Beyond the senses, What can we explore? giving the fact that- nothing leaves this world- what happens to the souls? What will happen when the dead rise? What is this state of the world once we consider the bounty of what lies beyond the borders of our senses, of our materially constructed reality? The transcendence of essence, of personality, of actions- Do they come back to earth? or interact with the living? In which form must the power of the dead be recognized? How do we confidently reshape purpose, while we consider unseen truths, unseen realms? Written and directed by Sharon-Rose Benson Cinematography and montage by Muhammad Toukhy  Assistant Director: Lilly Ann Benson Production assistance: Shaden Halabi Sound design: Siko Tatour