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Another example of Steven Spielberg's incredible camera placement, blocking and staging in Munich. In this moving master, he combines six shots in one and makes it look obvious and effortless. #spielberg #FilmTwitter #directing

Scott Jeschke

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475,413 görüntüleme • 2 yıl önce •via X (Twitter)

Sanat Eğitim #spielberg #FilmTwitter #directing

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Another great one. 4 shots in 1 moving master. The geography and tension is this one is phenomenal

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GLOSSARY of Abbreviations for the unfamiliar: 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

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Breakdown 4 Here:

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GLOSSARY of Abbreviations for the unfamiliar: 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 FG - foreground BG - Background OTS - Over The Shoulder

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Here's another great one broken down:

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Whats very interesting about this shot, like most of Munich is the way it evokes camera style, movement, staging, film pace & blocking techniques of the 70s Which is obviously when its set But also where Spielberg cut his directorial teeth See this #Columbo shot from his tv debut

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Totally! It's crazy how commonplace these techniques were until the late 70s. That episode of Columbo is so great. I got hooked because I thought all the episodes were that good, turns out... it's just Spielberg haha.

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Spielberg is the king of the blocking, second to none. As a film itself, Munich should be studied by any filmmaker in how to tell a strong story with economic efficiency.

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Absolutely agree

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New breakdown from HOOK

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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

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

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

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 throw out the rules. I don't think it's natural to crouch beside a car, but it works because it looks great. This of course might be a negotiation with your actors, as the blocking needs to feel truthful for them to sell it, but IMO sometimes it's okay to just make a shot look cool. #FilmTwitter #spielberg

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 throw out the rules. I don't think it's natural to crouch beside a car, but it works because it looks great. This of course might be a negotiation with your actors, as the blocking needs to feel truthful for them to sell it, but IMO sometimes it's okay to just make a shot look cool. #FilmTwitter #spielberg

Scott Jeschke

109,634 görüntüleme • 2 yıl 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

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

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

In honor of Steven Spielberg's "Disclosure" Billboards in Times Square and LA, here's a 🧵 of UFO movie related vids for your viewing displeasure! This one is about Spielberg's first movie!

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Spielberg is a master of blocking and framing. Not many work a room like him in MINORITY REPORT...

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I give a lot of love to Spielberg for his blocking, but here's some really nice evolving blocking and staging from Robert Eggers and Jarin Blaschke, who, from my understanding, work closely together to conceive of these shots in prep. I love the Spielbergian use of depth and foreground-versus-background groupings relative to the camera. The simplicity of the camera staging also reminds me a bit of some of the staging in Gone with the Wind. Lots of really nice shots like this in this film, but this one really stood out for me in the theater. Nosferatu - 2024 Kudos to-- Director: Robert Eggers Director of Photography: Jarin Blaschke "A" Camera Operator: Jan Cabalka First Assistant "A" Camera: Ashley Bond Second Assistant "A" Camera: Tomáš Kutlák Dolly & Grip Department Dolly Grip: Dan Chladek Key Grip: Robert Kodera Actors: Willem Dafoe Ralph Ineson Aaron Taylor Johnson Anna Harding GLOSSARY of Abbreviations/Terms used: ECU - Extreme Close Up CU - Close Up MCU - Medium Close Up M (or MS) Medium Shot MFS - Medium Full Shot FS - 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 STAGING: Arrangement and composition of visual elements within a frame, including actors, set design, props, lighting, and camera positioning If you liked this, check out my Spielberg ones! #filmmaking #cinematography #roberteggers

I give a lot of love to Spielberg for his blocking, but here's some really nice evolving blocking and staging from Robert Eggers and Jarin Blaschke, who, from my understanding, work closely together to conceive of these shots in prep. I love the Spielbergian use of depth and foreground-versus-background groupings relative to the camera. The simplicity of the camera staging also reminds me a bit of some of the staging in Gone with the Wind. Lots of really nice shots like this in this film, but this one really stood out for me in the theater. Nosferatu - 2024 Kudos to-- Director: Robert Eggers Director of Photography: Jarin Blaschke "A" Camera Operator: Jan Cabalka First Assistant "A" Camera: Ashley Bond Second Assistant "A" Camera: Tomáš Kutlák Dolly & Grip Department Dolly Grip: Dan Chladek Key Grip: Robert Kodera Actors: Willem Dafoe Ralph Ineson Aaron Taylor Johnson Anna Harding GLOSSARY of Abbreviations/Terms used: ECU - Extreme Close Up CU - Close Up MCU - Medium Close Up M (or MS) Medium Shot MFS - Medium Full Shot FS - 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 STAGING: Arrangement and composition of visual elements within a frame, including actors, set design, props, lighting, and camera positioning If you liked this, check out my Spielberg ones! #filmmaking #cinematography #roberteggers

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