Have you ever wondered what work goes inside your favorite movies and YouTube videos? Joining us is Harold Skinner, the gaffer for Fight Club, Interstellar, and so many other classics! This episode is a little different because this is the entire YouTube breakdown, uncut for your Behind-The-Scenes curiosity. We broke down these scenes: 1. The Social Network, the beginning breakup scene. 2. The Girl With The Dragon Tattoo, "I want you to catch a killer of women." 3. Interstellar, Miller's planet
Since 2005, RED has become the dark horse of the film industry, promising insanely high resolutions and frame rates that will hold up to any camera system from ARRI to Canon to Sony. Their new RED Komodo shows the promise of a high quality 6K sensor for under $10,000, unheard of by any cinema camera brand. But how did they get this way? What were some of the steps that took them from Silicon Valley startup to near-cultish camera empire?
Finding yourself in the world of filmmaking is often an exciting adventure, then met with questions and trials. But those who stand the test of time will know it's meant for them. Today, Andy Lowe, the chief electrician for works such as Paddington and The Crown, talks with us about his experience on the sci-fi set of Annihilation. He also talks about his journey into becoming a gaffer and how he never felt the call to cinematography; in fact, he felt a greater call to lighting and gaffing.
Back again with another episode about Production Design. Joining us this time is Ian Phillips, the designer behind TV shows such as Parks and Recreation, Love, and The Good Place. For all of you hobbiest doodlers out there, you might want to listen to this one. Ian started his career pursuing medicine while drawing for fun. Then one thing lead to another and he found himself designing TV show rooms and sets.
You think sound goes unnoticed in film? Production Design will take that up to 11! Join us with Sam Licenso, PD for movies such as Eighth Grade, Uncut Gems and Frances Ha, as we discuss how to modify and build sets to fit all types stories, from independent to professional Hollywood. We also dive into his mindset when designing a set, and how pretty shots may not be correct. You won't want to miss this one.
We've all been there. It's that moment when you're working as a receptionist in an office wondering, "When will I have my big shot at making movies?" Cinematographer Alex Disenhof may have a few tips and tricks. From making snow boarding videos, to shorts being seen at SXSW, to landing an agent and joining the union only at the age of 25, Alex has one of the fastest journey's into Hollywood. And this was all from a relationship breakup?
We've all heard stories about directors like Steven Spielberg getting his start by walking on a Universal Studios set. For a cinematographer, it's quite different. Colin Watkinson, the visionary behind the Emmy-winning show The Handmaid's Tale, tells us how he started off as a runner for a film special effects company. His passion for cameras and celluloid eventually led him to where he is now.
How to you get into the film industry? Do you have to cut your teeth on set and work all the time? Lachlan Milne, ASC, gives us his thoughts on this ever-changing question. In this episode, we cover Lachlan Milne's way into the film industry and finding what part of the industry he wants to pursue.
From sculpting to working at Disney out of high school, to quitting Disney to learn CGI on his own and eventually directing music videos, Rich Lee is a visual master artist. But how do you get to his level of expertise? What kind of technology should one invest in most? In this episode, we reflect on Rich Lee's history in the entertainment industry and how technology has influenced his filmmaking career path and modern filmmaker.
Visual Engineer? Most people wouldn't be familiar with that job title. It takes a very unique person to bridge the gap between machinery and art, and that's what Steve Giralt represents. He is the founder of The Garage, a production company that specializes in product-based work. While we wouldn't think of it when watching commercials, Steve says that behind every good product shot is a story. How do you find the story of a product, and how do you use programming and robotics to get you there?