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3rd Breakdown of Steven Spielberg's blocking, camera movement, and staging in Munich. This one is fascinating because he uses the car to dolly, the lens to zoom, and Eric Bana's blocking to stitch 4 shots into 1. It's so low tech but it's exquisite. It's also a reminder to... show more

Scott Jeschke

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109,634 görüntüleme • 2 yıl önce •via X (Twitter)

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Scott Jeschke2 yıl önce

Fun fact, in 2016 I directed a short film. When we were burning the midnight oil and had a lot of coverage to get through, we threw out 3 or 4 shots and covered the scene through rear and side mirrors. Saved us hours. The film's not perfect, but I still love this little nod to Spielberg's mirror shot.

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Stuart Hazeldine2 yıl önce

Masterclass of a film.

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Scott Jeschke2 yıl önce

agreed

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François Bouchet2 yıl önce

funny thing is that the mirror has nothing to do there, so low - in the middle of the car's windshield... but this shot works so well narratively speaking that I've never seen anyone tweeting about it ^^!

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Lisa Allen-Agostini2 yıl önce

now i have to watch this movie. i love a great tracking shot

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Scott Jeschke2 yıl önce

Oh! So many mind blowing shots in this one.

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Paul Harb2 yıl önce

Followed

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Scott Jeschke2 yıl önce

thanks, Paul!

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qn2 yıl önce

Janusz Kamiński is doing a masterful work for Spielberg. Since he is DoP in this movie, those shots had a lot and lot of his input.

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This blocking and camera movement breakdown is from Steven Spielberg's Minority Report. This one's a little different because it's a steadicam shot so the compositions flow very quickly at times. I don't like to call ALL of Spielberg's multi-composition shots oners because, typically, they are just old-school blocking, staging and cam movement. Actor's moving at specified dramatic blocks, and the camera moving to reframe for unique compositions, that these day's would more likely be broken into shots on most films. This one could arguably be called a oner though since it's a full scene in one continuous shot. I count 11 compositions in this steadicam shot. Minority Report - 2005 Credit due also to Spielberg's team, Janusz Kaminski (DP), and the Steadicam operator Gregory Lundsgaard (per IMDB). #filmtwitter #spielberg #directing #steadicam #MinorityReport

This blocking and camera movement breakdown is from Steven Spielberg's Minority Report. This one's a little different because it's a steadicam shot so the compositions flow very quickly at times. I don't like to call ALL of Spielberg's multi-composition shots oners because, typically, they are just old-school blocking, staging and cam movement. Actor's moving at specified dramatic blocks, and the camera moving to reframe for unique compositions, that these day's would more likely be broken into shots on most films. This one could arguably be called a oner though since it's a full scene in one continuous shot. I count 11 compositions in this steadicam shot. Minority Report - 2005 Credit due also to Spielberg's team, Janusz Kaminski (DP), and the Steadicam operator Gregory Lundsgaard (per IMDB). #filmtwitter #spielberg #directing #steadicam #MinorityReport

Scott Jeschke

220,957 görüntüleme • 2 yıl önce

New blocking and staging breakdown of THIS SHOT from Steven Spielberg's, THE FABELMANS, which has arguably 9 unique compositions or "shots" in 1. It's one of the most complex shots in The Fabelman's, which overall leans a little simpler in the way of staging and camera work than Spielberg's other films. But what I love about this shot is the way in which it tells a story. In this one shot, both of Logan's lovers now see him in a new light, and suddenly, Sammy's girlfriend has a reignited interest in him because his film brought down the house. We also see Logan's feelings of being a fraud from his rejection of his pals. It's old-fashioned but really lovely storytelling through old-school blocking. THE FABELMANS 2022 - Dir Steven Spielberg - Credit due also to Spielberg's team, Janusz Kaminski, and the actors, Sam Rechner, Chandler Lovelle, Isabelle Kusman, Monica Sherwood #spielberg #FilmTwitter #directing

New blocking and staging breakdown of THIS SHOT from Steven Spielberg's, THE FABELMANS, which has arguably 9 unique compositions or "shots" in 1. It's one of the most complex shots in The Fabelman's, which overall leans a little simpler in the way of staging and camera work than Spielberg's other films. But what I love about this shot is the way in which it tells a story. In this one shot, both of Logan's lovers now see him in a new light, and suddenly, Sammy's girlfriend has a reignited interest in him because his film brought down the house. We also see Logan's feelings of being a fraud from his rejection of his pals. It's old-fashioned but really lovely storytelling through old-school blocking. THE FABELMANS 2022 - Dir Steven Spielberg - Credit due also to Spielberg's team, Janusz Kaminski, and the actors, Sam Rechner, Chandler Lovelle, Isabelle Kusman, Monica Sherwood #spielberg #FilmTwitter #directing

Scott Jeschke

78,681 görüntüleme • 2 yıl önce

Another great bit of blocking, staging, and subtle camera movement in Steven Spielberg's A.I. Artificial Intelligence to continually reshape this moving master shot. Arguably six unique compositions in one. What I always love about these shots is the way in which they are intentionally telling an evolving story. This film often uses perpendicularly connected room layouts to enable a number of these kinds of evolving shots. Love it. A.I. Artificial Intelligence - 2001 Dir Steven Spielberg - Credit due also to Janusz Kaminski, the actors, and the talented dolly grips and camera team #FilmTwitter #directing #spielberg

Another great bit of blocking, staging, and subtle camera movement in Steven Spielberg's A.I. Artificial Intelligence to continually reshape this moving master shot. Arguably six unique compositions in one. What I always love about these shots is the way in which they are intentionally telling an evolving story. This film often uses perpendicularly connected room layouts to enable a number of these kinds of evolving shots. Love it. A.I. Artificial Intelligence - 2001 Dir Steven Spielberg - Credit due also to Janusz Kaminski, the actors, and the talented dolly grips and camera team #FilmTwitter #directing #spielberg

Scott Jeschke

67,939 görüntüleme • 1 yıl önce

Been wanting to do another one of these blocking and staging breakdowns for weeks now. Here's a shot that I've always marveled at this shot from Steven Spielberg's HOOK. With blocking, staging and camera movement Spielberg manages to combine 11 compositions or what I'll call here "Shots" into one shot. What's amazing about this shot is that most people probably wouldn't even notice. And that's a good thing. It's no surprise he went on to make multiple 3D movies, because he really is a master of depth. There's some dollying and by my count, one zoom, but otherwise, this shot is entirely conceived by his use of pan, tilts, actor movement and rack focusing. It's a masterclass in using depth as a tool for storytelling. And on that note, what's so incredible about this shot is how purposeful each composition is in telling the emotional story. As annotated in pink. Hoping to do some non-Spielberg ones soon too, but it's hard to resist because, even though many came before him, I think he's truly the master of this old-school type of blocking and staging. HOOK 1991 - Dir Steven Spielberg - Credit due also to Spielberg's team, DP Dean Cundey, and the actors: Robin Williams, Maggie Smith and Caroline Goodall GLOSSARY of Abbreviations/Terms used: ECU - Extreme Close Up CU - Close Up MCU - Medium Close Up M (or MS) Medium Shot MLS - Medium Long Shot LS - Long Shot ELS - Extreme Long Shot FAVORING: (Who's face is favored by camera) BLOCKING: Where/when the actor positions themself relative to camera/ dramatic beats "SHOT" - (Just using this to say composition or what would be a shot - if there was a cut/setup) #FilmTwitter #spielberg #directing

Been wanting to do another one of these blocking and staging breakdowns for weeks now. Here's a shot that I've always marveled at this shot from Steven Spielberg's HOOK. With blocking, staging and camera movement Spielberg manages to combine 11 compositions or what I'll call here "Shots" into one shot. What's amazing about this shot is that most people probably wouldn't even notice. And that's a good thing. It's no surprise he went on to make multiple 3D movies, because he really is a master of depth. There's some dollying and by my count, one zoom, but otherwise, this shot is entirely conceived by his use of pan, tilts, actor movement and rack focusing. It's a masterclass in using depth as a tool for storytelling. And on that note, what's so incredible about this shot is how purposeful each composition is in telling the emotional story. As annotated in pink. Hoping to do some non-Spielberg ones soon too, but it's hard to resist because, even though many came before him, I think he's truly the master of this old-school type of blocking and staging. HOOK 1991 - Dir Steven Spielberg - Credit due also to Spielberg's team, DP Dean Cundey, and the actors: Robin Williams, Maggie Smith and Caroline Goodall GLOSSARY of Abbreviations/Terms used: ECU - Extreme Close Up CU - Close Up MCU - Medium Close Up M (or MS) Medium Shot MLS - Medium Long Shot LS - Long Shot ELS - Extreme Long Shot FAVORING: (Who's face is favored by camera) BLOCKING: Where/when the actor positions themself relative to camera/ dramatic beats "SHOT" - (Just using this to say composition or what would be a shot - if there was a cut/setup) #FilmTwitter #spielberg #directing

Scott Jeschke

86,091 görüntüleme • 2 yıl önce

It's almost always unfair to compare most movies with Spielberg since he's one the best to ever do it when it comes to blocking, but look at this clip from Murder In The First. It's so much more interesting visually than just cutting to whoever is talking

It's almost always unfair to compare most movies with Spielberg since he's one the best to ever do it when it comes to blocking, but look at this clip from Murder In The First. It's so much more interesting visually than just cutting to whoever is talking

All Things Movies

57,308 görüntüleme • 5 ay önce

(4/4) One more blocking and camera move breakdown from Steven Spielberg's Munich for today. This shot is truly insane. Essentially 6 "shots" in 1 (or rather compositions) As to how they did the dolly move in a car (My guess the car was split in half and flown in and out, or maybe there is compositing with the mirrors) that's above my pay-grade, and some things are just best left to movie-magic. Gonna do some other films soon! Thanks for watching and sharing. Munich 2005 Dir Steven Spielberg DoP Janusz Kaminski

(4/4) One more blocking and camera move breakdown from Steven Spielberg's Munich for today. This shot is truly insane. Essentially 6 "shots" in 1 (or rather compositions) As to how they did the dolly move in a car (My guess the car was split in half and flown in and out, or maybe there is compositing with the mirrors) that's above my pay-grade, and some things are just best left to movie-magic. Gonna do some other films soon! Thanks for watching and sharing. Munich 2005 Dir Steven Spielberg DoP Janusz Kaminski

Scott Jeschke

82,335 görüntüleme • 2 yıl önce

Here's a fun one. 4 compositions in 1 shot in Steven Spielberg's Minority Report. I like this shot for how it utilizes depth. It's all pans, tilts and focus pulls. There are no zooms, tracks, etc, and yet it's dynamic and tells the story in a really effective way. We don't see Anderton's face, and yet we picture it so clearly. It's so simple but very smartly conceived. God bless the focus puller though! By the way, with these breakdowns, I know I'm far from the first to talk about these multi-composition shots/ blocking and camera work from Spielberg. I'm not presuming to be. And I'm fairly certain every notable director ever has studied these shots for years, as I have. It's nothing new. For me, it's simply an exercise in dissecting it for myself and understanding the shots better. I'm not saying that the shots were necessarily constructed/conceived in the exact way they are deconstructed. I'm just having fun, and sharing for those who are also curious. Minority Report - 2005 Credit due also to Spielberg's team, Janusz Kaminski, and the actors, Tom Cruise and Steve Harris. #filmtwitter #spielberg #directing #tomcruise #MinorityReport

Here's a fun one. 4 compositions in 1 shot in Steven Spielberg's Minority Report. I like this shot for how it utilizes depth. It's all pans, tilts and focus pulls. There are no zooms, tracks, etc, and yet it's dynamic and tells the story in a really effective way. We don't see Anderton's face, and yet we picture it so clearly. It's so simple but very smartly conceived. God bless the focus puller though! By the way, with these breakdowns, I know I'm far from the first to talk about these multi-composition shots/ blocking and camera work from Spielberg. I'm not presuming to be. And I'm fairly certain every notable director ever has studied these shots for years, as I have. It's nothing new. For me, it's simply an exercise in dissecting it for myself and understanding the shots better. I'm not saying that the shots were necessarily constructed/conceived in the exact way they are deconstructed. I'm just having fun, and sharing for those who are also curious. Minority Report - 2005 Credit due also to Spielberg's team, Janusz Kaminski, and the actors, Tom Cruise and Steve Harris. #filmtwitter #spielberg #directing #tomcruise #MinorityReport

Scott Jeschke

35,195 görüntüleme • 2 yıl önce

Zack Snyder: "When you make a movie, a lot of times you take a second camera, and if the actors are talking, you stick a second camera in there to try and get a close up or something like that to make it move along faster. "That second camera normally suffers a little bit in its composition design just because it's not the primary focus, but for this movie, it's a one camera show." Larry Fong: "His shots are so designed, so it's hard to kind of get a B camera just somewhere to get another shot. He won't use it. When you're doing 180 degree dolly moves and stuff, I mean, where do you put the other camera? "It's great for me because that means I can make each shot the way I want it to without compromising, which you usually do when you have two."

Zack Snyder: "When you make a movie, a lot of times you take a second camera, and if the actors are talking, you stick a second camera in there to try and get a close up or something like that to make it move along faster. "That second camera normally suffers a little bit in its composition design just because it's not the primary focus, but for this movie, it's a one camera show." Larry Fong: "His shots are so designed, so it's hard to kind of get a B camera just somewhere to get another shot. He won't use it. When you're doing 180 degree dolly moves and stuff, I mean, where do you put the other camera? "It's great for me because that means I can make each shot the way I want it to without compromising, which you usually do when you have two."

Zack Snyder Film

88,556 görüntüleme • 9 ay önce

🚨| Sir Lewis Hamilton asked about his radio message from practice, and whether he is confident in the car for tomorrow. "Well, I mean, we'll work on it. I think it's just the way of this track, you know. It's a massively demanding circuit. It's amazing to drive. But getting the right balance, and I think, interestingly, there's something... I think it's just something in how this car is set up. There's kind of some similarities to what I felt last year, so we're just working on that." "So I'm confident overnight we can find something and get it to a better place. But it's an awesome circuit. But you need to be able to sit on the rear and be comfortable that it's going to stay with you. And today I had the snaps. It just can't seem to match the other guys. So I think we'll do a deep dive tonight. We'll get some interesting readings from the simulator. But I feel like I've got a bit of a north star. It's just how do we get there. And so we're going to try and figure that out." F1 2026 || Japan

🚨| Sir Lewis Hamilton asked about his radio message from practice, and whether he is confident in the car for tomorrow. "Well, I mean, we'll work on it. I think it's just the way of this track, you know. It's a massively demanding circuit. It's amazing to drive. But getting the right balance, and I think, interestingly, there's something... I think it's just something in how this car is set up. There's kind of some similarities to what I felt last year, so we're just working on that." "So I'm confident overnight we can find something and get it to a better place. But it's an awesome circuit. But you need to be able to sit on the rear and be comfortable that it's going to stay with you. And today I had the snaps. It just can't seem to match the other guys. So I think we'll do a deep dive tonight. We'll get some interesting readings from the simulator. But I feel like I've got a bit of a north star. It's just how do we get there. And so we're going to try and figure that out." F1 2026 || Japan

sim 🇧🇷🇲🇽🇸🇳🇫🇷🇭🇹

165,156 görüntüleme • 5 ay önce

"I'll compete according to the rules that are in place. Of course, I don't think the program should be simplified, because it's still a sport. Of course, it's also about art, but for me, it will always remain an Olympic sport, and it should be at the very limits of human ability"

"I'll compete according to the rules that are in place. Of course, I don't think the program should be simplified, because it's still a sport. Of course, it's also about art, but for me, it will always remain an Olympic sport, and it should be at the very limits of human ability"

Trusova Updates

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Joe Rogan reacts to Alex Pereira claiming the referee allowed illegal shots to the back of his head during his loss to Ciryl Gane. Joe Rogan: And even like feinting takedowns, it's not like he committed to those, but he's got him thinking about it. Look how he drops him with that body shot, body shot into it. Now here's the question, because one of the things that Pereira is saying is a lot of... there's an illegal shot. A lot of the shots were illegal to the back of the head. But a lot of them were to the side of the head. Justin Gaethje: Those are close. Trevor Wittman: They're close, because the first one... Justin Gaethje: When they explain it to you, it's... Can you turn? It's a two-inch line down, like a mohawk. This whole apron right here. But it's like, this is legal, this is legal, this is legal, this is illegal. Legal, illegal. Joe Rogan: I mean, a couple of those shots definitely landed illegally, but there's also...

Joe Rogan reacts to Alex Pereira claiming the referee allowed illegal shots to the back of his head during his loss to Ciryl Gane. Joe Rogan: And even like feinting takedowns, it's not like he committed to those, but he's got him thinking about it. Look how he drops him with that body shot, body shot into it. Now here's the question, because one of the things that Pereira is saying is a lot of... there's an illegal shot. A lot of the shots were illegal to the back of the head. But a lot of them were to the side of the head. Justin Gaethje: Those are close. Trevor Wittman: They're close, because the first one... Justin Gaethje: When they explain it to you, it's... Can you turn? It's a two-inch line down, like a mohawk. This whole apron right here. But it's like, this is legal, this is legal, this is legal, this is illegal. Legal, illegal. Joe Rogan: I mean, a couple of those shots definitely landed illegally, but there's also...

Ruzy.hl

546,356 görüntüleme • 3 ay önce

Lando: “In a way I wanted to keep number 4 because I'm just happy with that and it goes well with my logo. So that's how straightforward I am. But I will go with number 1. Because I have to. I have to. It could be my only opportunity in my life that I get to do such a thing. Not many people in the world get to do that kind of thing. And it's not for me. It's just for my mechanics. This is for my engineers. It's the fact that they get to run with the number 1 on the car. And I think it'll mean a lot more to them than it does to me as a number. And for me, that's a lot more important.”

naenia ¹ ⁶³

1,648,587 görüntüleme • 9 ay önce

Mara: Do you think that this gap with Mercedes is possible to... Lewis: No, I do. That's what I said. I do believe we can close the gap. I think we've got... It's not going to be easy. It's got a lot of work to do to close it because it's quite significant, particularly on a single lap. We need to find out whether it's power or it's battery power. But the car is just as quick through the corners, so we've just got to keep pushing." #F1 || #AustralianGP

Mara: Do you think that this gap with Mercedes is possible to... Lewis: No, I do. That's what I said. I do believe we can close the gap. I think we've got... It's not going to be easy. It's got a lot of work to do to close it because it's quite significant, particularly on a single lap. We need to find out whether it's power or it's battery power. But the car is just as quick through the corners, so we've just got to keep pushing." #F1 || #AustralianGP

sim 🇧🇷🇲🇽🇸🇳🇫🇷🇭🇹

277,221 görüntüleme • 6 ay önce

🚨 JUST NOW: Sen. John Kennedy NAILS IT, the communists are OUTING themselves to millions of Americans "Socialism is for MORONS. It's never worked anywhere...this is great for my party. I mean, the American people listen to this foolishness, and they think, you know, Republicans aren't perfect. But these dudes are crazy, but I don't think it's good for America!" "I don't think it's good for the Democratic Party, but it's up to them. I mean, it's a free country. If the Democrats want to put them in charge and not stand up to them!"

🚨 JUST NOW: Sen. John Kennedy NAILS IT, the communists are OUTING themselves to millions of Americans "Socialism is for MORONS. It's never worked anywhere...this is great for my party. I mean, the American people listen to this foolishness, and they think, you know, Republicans aren't perfect. But these dudes are crazy, but I don't think it's good for America!" "I don't think it's good for the Democratic Party, but it's up to them. I mean, it's a free country. If the Democrats want to put them in charge and not stand up to them!"

Eric Daugherty

28,168 görüntüleme • 1 ay önce

This is my favorite anti-tank rifle. It's from World War I. I know it's not the best, but it's cool because it looks like a real rifle, instead of a technological nightmare (like the Finnish and Japanese weapons). It only has a pistol grip because it's impossible to wrap your hand around the giant stock.

This is my favorite anti-tank rifle. It's from World War I. I know it's not the best, but it's cool because it looks like a real rifle, instead of a technological nightmare (like the Finnish and Japanese weapons). It only has a pistol grip because it's impossible to wrap your hand around the giant stock.

Sandy Petersen 🪔

131,636 görüntüleme • 7 ay önce

Any animators/developers know why Ubisoft just doesn't switch to JALI to use for facial animation cutscenes in Assassin's Creed? It's what Cyberpunk 2077 uses and it's one the most impressive uses of technology i've seen. I don't think it's something licensed to CDPR, because Don't Nod uses it for Lost Records. Is it because of Ubisoft's Anvil engine having it's own internal systems and tools for character animation? JALI is 10x better than their current procedural generated process. I watched the AC Odyssey GDC 2019 cutscene presentation, and it's not good. Great from a business perspective to save on costs and time, but horrendous from the perspective of playing the game as a consumer. It started with Odyssey and has carried over since in every game, and somehow it's gotten worse with AC Shadows. It needs to change.

Any animators/developers know why Ubisoft just doesn't switch to JALI to use for facial animation cutscenes in Assassin's Creed? It's what Cyberpunk 2077 uses and it's one the most impressive uses of technology i've seen. I don't think it's something licensed to CDPR, because Don't Nod uses it for Lost Records. Is it because of Ubisoft's Anvil engine having it's own internal systems and tools for character animation? JALI is 10x better than their current procedural generated process. I watched the AC Odyssey GDC 2019 cutscene presentation, and it's not good. Great from a business perspective to save on costs and time, but horrendous from the perspective of playing the game as a consumer. It started with Odyssey and has carried over since in every game, and somehow it's gotten worse with AC Shadows. It needs to change.

The Hidden One

260,113 görüntüleme • 9 ay önce

Count Shane Lowry among those less than enthused with the course conditions at PGA National in recent years. "I feel like it's going to look great on TV. It's going to be lovely and green. It's going to be amazing. But I probably would like to see a bit more of the old traditional setup. It is what it is this week, and you just have to deal with the cards you're given."

Count Shane Lowry among those less than enthused with the course conditions at PGA National in recent years. "I feel like it's going to look great on TV. It's going to be lovely and green. It's going to be amazing. But I probably would like to see a bit more of the old traditional setup. It is what it is this week, and you just have to deal with the cards you're given."

Cameron Jourdan

369,138 görüntüleme • 6 ay önce

🗣️ Eric Collins to those saying he's "too much": "I totally get it. It is what it is. But I've done this the exact same way ever since I started doing it back in the '90s. It's just always been my thing. It's natural, it's organic, it's the way I feel in the moment." "It's just who I am. I could always try to be different and be like everyone else, but why be a bad version of someone else when you can try to be the best version of yourself? And that's just who I am. It's got me this far and I probably can't change, and if someone really wants me to change, I'm just going to have to leave. So it is what it is." Full segment on Wake Up Barstool:

🗣️ Eric Collins to those saying he's "too much": "I totally get it. It is what it is. But I've done this the exact same way ever since I started doing it back in the '90s. It's just always been my thing. It's natural, it's organic, it's the way I feel in the moment." "It's just who I am. I could always try to be different and be like everyone else, but why be a bad version of someone else when you can try to be the best version of yourself? And that's just who I am. It's got me this far and I probably can't change, and if someone really wants me to change, I'm just going to have to leave. So it is what it is." Full segment on Wake Up Barstool:

r/CharlotteHornets

89,233 görüntüleme • 4 ay önce