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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... show more

Scott Jeschke

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67,939 görüntüleme • 1 yıl önce •via X (Twitter)

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Mr. Morales & the big steppers’1 yıl önce

I get excited for these type of videos!! 🔥🔥🔥

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Scott Jeschke1 yıl önce

So glad. They are a lot of fun to make

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Bi-tácora bicolor1 yıl önce

Jesus

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Scott Jeschke1 yıl önce

😂😂

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Mandana Wright1 yıl önce

This film just ruins me. Absolute puddlemode.

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Tanyeno1 yıl önce

Love this!

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rascalsandals1 yıl önce

This movie is AI !!!!!

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P.J. Marino1 yıl önce

I love these, Scott. Btw I did a play once w/ Sam Robards who plays the husband here. Great great guy.

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Scott Jeschke1 yıl önce

Thanks, PJ! Whoah! Very cool

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FictionalGUY1 yıl önce

I have a questions and will try to articulate it the best way possible. 1. How do you control the pacing of the oners consisting of multiple shots stitched together? Because they way I understand it. If the oner was shot in multiple coverages, the editor has control over pacing.

Benzer Videolar

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

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

475,259 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

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

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

(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 • 1 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

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

Scott Jeschke

22,610 görüntüleme • 1 ay önce

There are two kinds of A.I. -- not just one. We keep hearing about the A.I. known as "Artificial Intelligence." But there is an older A.I. that almost nobody talks about anyone. Call it "Ancient Intelligence." Or "Ancestral Intelligence." These are the wisdom traditions, the community bonds and the moral frameworks that have always kept us human. One A.I. is growing exponentially. The other is being left behind. We are in danger of having a society that is characterized by "all data and no wisdom." Right now, exponential technology is creating a gap that leaves people behind. The question is whether we close it before it closes on us. Closing that gap requires a new deal between big tech and the rest of humanity. I shared what we can do about all of this at TED Talks. My talk is live today - watch here:

There are two kinds of A.I. -- not just one. We keep hearing about the A.I. known as "Artificial Intelligence." But there is an older A.I. that almost nobody talks about anyone. Call it "Ancient Intelligence." Or "Ancestral Intelligence." These are the wisdom traditions, the community bonds and the moral frameworks that have always kept us human. One A.I. is growing exponentially. The other is being left behind. We are in danger of having a society that is characterized by "all data and no wisdom." Right now, exponential technology is creating a gap that leaves people behind. The question is whether we close it before it closes on us. Closing that gap requires a new deal between big tech and the rest of humanity. I shared what we can do about all of this at TED Talks. My talk is live today - watch here:

Van Jones

15,854 görüntüleme • 28 gün önce

#DISCLOSUREDAY is Steven Spielberg’s 4th centered film and the first Spielberg film I’ve seen in theaters since Indiana Jones and The Kingdom of the Crystal Skull. (I might never see a truly Great Spielberg picture in theaters) The Cast on paper is perfect, John Williams orchestrating the score while Spielberg directs the shit out of this film. David Koepp wrote the screenplay here and he is definitely the weakest part of this creation but it’s also on Spielberg because he should be able to see the faults here. The film leaves you wanting more and more and eventually it gives you what you want but takes it away just like that, it results in an underwhelming ending. The film is really well made, the framing and camera choices from Spielberg adds so much to what would be just simple scenes. Blunt, O’Connor, Domingo and Firth are all solid, at times the script lets them down but they do their best to salvage it. The Train sequence was great, but not a whole lot happens in the film other than that. I enjoyed the film for its intriguing storyline, the directing and especially Blunt’s performance but the ending was a big bummer. Definitely a good intriguing watch but I don’t think the film will have much rewatch value. Wanted to love it but just ended up liking it for about 90% of it. Did you see or plan on seeing Disclosure Day ? 👽🛸

#DISCLOSUREDAY is Steven Spielberg’s 4th centered film and the first Spielberg film I’ve seen in theaters since Indiana Jones and The Kingdom of the Crystal Skull. (I might never see a truly Great Spielberg picture in theaters) The Cast on paper is perfect, John Williams orchestrating the score while Spielberg directs the shit out of this film. David Koepp wrote the screenplay here and he is definitely the weakest part of this creation but it’s also on Spielberg because he should be able to see the faults here. The film leaves you wanting more and more and eventually it gives you what you want but takes it away just like that, it results in an underwhelming ending. The film is really well made, the framing and camera choices from Spielberg adds so much to what would be just simple scenes. Blunt, O’Connor, Domingo and Firth are all solid, at times the script lets them down but they do their best to salvage it. The Train sequence was great, but not a whole lot happens in the film other than that. I enjoyed the film for its intriguing storyline, the directing and especially Blunt’s performance but the ending was a big bummer. Definitely a good intriguing watch but I don’t think the film will have much rewatch value. Wanted to love it but just ended up liking it for about 90% of it. Did you see or plan on seeing Disclosure Day ? 👽🛸

MoviesThatMaher

15,159 görüntüleme • 1 ay önce

Terry Gilliam on the difference between the movies of Stanley Kubrick & Steven Spielberg: “The great difference between a Kubrick and a Spielberg is, Spielberg is more successful; His films make much more money, but they’re comforting. They give you answers; always, the films are answers. I don’t think they’re very clever answers. (...) Spielberg and the success of most films in Hollywood these days, I think is down to the fact they're comforting; they tie things up in nice little bows; gives you answers even if the answers are stupid." (Terry Gilliam, TCM, 2002)

Terry Gilliam on the difference between the movies of Stanley Kubrick & Steven Spielberg: “The great difference between a Kubrick and a Spielberg is, Spielberg is more successful; His films make much more money, but they’re comforting. They give you answers; always, the films are answers. I don’t think they’re very clever answers. (...) Spielberg and the success of most films in Hollywood these days, I think is down to the fact they're comforting; they tie things up in nice little bows; gives you answers even if the answers are stupid." (Terry Gilliam, TCM, 2002)

DepressedBergman

324,124 görüntüleme • 4 ay önce

#BREAKING: Ben Rhodes to Hayes: “…we may look back at this era, and Trump is the B-story, the A-story is actually the consolidation of power in a very small number of hands among these tech CEOs, and what is Trump giving in exchange for all this, is the complete DEREGULATION of artificial intelligence. So at the precise moment that these technologies are coming online, at the precise moment, this technology is becoming the dominant force in our economic growth…the rules are being REMOVED in terms of how this technology flows out in the world.”😳

#BREAKING: Ben Rhodes to Hayes: “…we may look back at this era, and Trump is the B-story, the A-story is actually the consolidation of power in a very small number of hands among these tech CEOs, and what is Trump giving in exchange for all this, is the complete DEREGULATION of artificial intelligence. So at the precise moment that these technologies are coming online, at the precise moment, this technology is becoming the dominant force in our economic growth…the rules are being REMOVED in terms of how this technology flows out in the world.”😳

Emoluments Clause

374,915 görüntüleme • 7 ay önce

"Steven Spielberg is not honest. I hate Spielberg, because none of his movies are honest. He hates Jews, because he is Jewish. He is fascist, because America is the centre of his world. If I can ki!! Spielberg, I will ki!! Spielberg." --- Alejandro Jodorowsky Full Excerpt: "Jodorowsky: I like Buñuel, because he was always honest. If he had limits, then he would make a limited picture. He always shot at his eye-level, he never put a shot up here, because he was limited, and he agreed to be limited. Bunuel is honest. I like pictures that are honest. Like some Hong Kong pictures — those filmmakers are honest thieves, they are making business, and they are so honest about it, it’s fantastic. But, say, Spielberg is not honest. I hate Spielberg, because none of his movies are honest. His violence is ill, it’s not honest. He shows an ill violence, as though he was the father of history. He hates Jews, because he is Jewish. He is making business with that, with Europe. He is fascist, because America is the centre of his world. If I can ki!! Spielberg, I will ki!! Spielberg. (...) Also, I love Cronenberg, because he is an auteur, he has his obsession. I like him. He is honest. There are a lot of moviemakers I like, and there are others I hate. But what I hate the most is Spielberg. And second Walt Disney. Interviewer: Didn’t you used to hate Walt Disney above all others? Jodorowsky: Yes. But now it’s Spielberg. I think Spielberg is the son from when Walt Disney f**ked Minnie Mouse. And then there was Spielberg." ("The Mole Man: Going Underground with Alejandro Jodorowsky", Damien Love, Bright Lights, 2008) In 2013, Jodorowsky said: "I always say Steven Spielberg is a degenerate, because he was the one who started this trend of making cinema a big spectacle and applauding special effects." ("The films I make go beyond entertainment: Jodorowsky", La Razón, 2013) Clip from: Duel (1971) Director: Steven Spielberg

"Steven Spielberg is not honest. I hate Spielberg, because none of his movies are honest. He hates Jews, because he is Jewish. He is fascist, because America is the centre of his world. If I can ki!! Spielberg, I will ki!! Spielberg." --- Alejandro Jodorowsky Full Excerpt: "Jodorowsky: I like Buñuel, because he was always honest. If he had limits, then he would make a limited picture. He always shot at his eye-level, he never put a shot up here, because he was limited, and he agreed to be limited. Bunuel is honest. I like pictures that are honest. Like some Hong Kong pictures — those filmmakers are honest thieves, they are making business, and they are so honest about it, it’s fantastic. But, say, Spielberg is not honest. I hate Spielberg, because none of his movies are honest. His violence is ill, it’s not honest. He shows an ill violence, as though he was the father of history. He hates Jews, because he is Jewish. He is making business with that, with Europe. He is fascist, because America is the centre of his world. If I can ki!! Spielberg, I will ki!! Spielberg. (...) Also, I love Cronenberg, because he is an auteur, he has his obsession. I like him. He is honest. There are a lot of moviemakers I like, and there are others I hate. But what I hate the most is Spielberg. And second Walt Disney. Interviewer: Didn’t you used to hate Walt Disney above all others? Jodorowsky: Yes. But now it’s Spielberg. I think Spielberg is the son from when Walt Disney f**ked Minnie Mouse. And then there was Spielberg." ("The Mole Man: Going Underground with Alejandro Jodorowsky", Damien Love, Bright Lights, 2008) In 2013, Jodorowsky said: "I always say Steven Spielberg is a degenerate, because he was the one who started this trend of making cinema a big spectacle and applauding special effects." ("The films I make go beyond entertainment: Jodorowsky", La Razón, 2013) Clip from: Duel (1971) Director: Steven Spielberg

DepressedBergman

715,076 görüntüleme • 3 ay önce

Today’s #HudsonWilliamsFF short film is “Peaceful Protest Turned Heated Rivalry”! 🎥 Link to watch: IMO: This gave me a lot of nostalgia for the early YouTube days. I love the way the fight is filmed. The blocking and choreography are great and you can tell they put a lot of thought into how each hit would look on camera. I also love Hudson in the last scene. Share your favourite scene and your insights about it in the replies!

Today’s #HudsonWilliamsFF short film is “Peaceful Protest Turned Heated Rivalry”! 🎥 Link to watch: IMO: This gave me a lot of nostalgia for the early YouTube days. I love the way the fight is filmed. The blocking and choreography are great and you can tell they put a lot of thought into how each hit would look on camera. I also love Hudson in the last scene. Share your favourite scene and your insights about it in the replies!

Hudson Williams Updates

120,972 görüntüleme • 5 ay 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 • 7 ay önce

.Thomas Laffont describes how a meeting with Steven Spielberg eventually taught him how to pitch companies. "Steven said, 'Every great story can be pitched in three sentences, no matter what the story was.'" "In three sentences you got the whole movie. And what I realized is it takes a true understanding of story to be able to crystallize it in three sentences." "All the great investors that I've met, like Stan Druckenmiller, my brother Philippe, or Dan Loeb, they have an ability to take any kind of story and just drill it down into its essence to what the key pivot points are that are going to make or break that stock at that particular moment."

.Thomas Laffont describes how a meeting with Steven Spielberg eventually taught him how to pitch companies. "Steven said, 'Every great story can be pitched in three sentences, no matter what the story was.'" "In three sentences you got the whole movie. And what I realized is it takes a true understanding of story to be able to crystallize it in three sentences." "All the great investors that I've met, like Stan Druckenmiller, my brother Philippe, or Dan Loeb, they have an ability to take any kind of story and just drill it down into its essence to what the key pivot points are that are going to make or break that stock at that particular moment."

TBPN

96,815 görüntüleme • 3 ay önce

Steven Spielberg saw Stanley Kubrick for the first time in 1980 while he was building sets for "The Shining" (1980). After the movie was released, Spielberg went to Kubrick's house for dinner. Kubrick asked him if he liked the movie. Spielberg, who didn't like the movie in the first viewing, started to tell Kubrick all the things he liked about the movie, rather than telling that he didn't like the movie. Kubrick saw right through him and said, "Steven, you obviously didn't like my picture very much". Spielberg replied, "There is a lot of things that I like about the picture". Kubrick stopped him and said, "But there is a lot of things you didn't love about the picture, probably a lot more that you didn't than did. So tell me what you didn't like about it." Spielberg pinpointed Jack Nicholson's performance. He called him a "great actor" and a "great performance", but a "Great Kabuki Performance", almost like Kabuki theater. Kubrick then asked, "You mean you think Jack went over the top?". Spielberg replied affirmatively. Kubrick then asked Spielberg to name his top 5 favourite actors of all time without thinking much. Spielberg listed Spencer Tracy, Henry Fonda, James Stewart, Cary Grant and Clark Gable. Kubrick said, "Stop" & questioned, "Where was James Cagney on that list?" Spielberg said that he is up there high, Kubrick then said, "But not in the top 5". Finally Kubrick said," You don't consider James Cagney as one of the 5 best actors around, but I do. This is why Jack Nicholson's performance is a great one." Since then, Spielberg has caw "The Shining" more than 25 times & considers it one of his favourite pictures. P.S: Remembering the legendary American actor James Cagney on his 127th birthday! Clip from: One, Two, Three (1961) Director: Billy Wilder

Steven Spielberg saw Stanley Kubrick for the first time in 1980 while he was building sets for "The Shining" (1980). After the movie was released, Spielberg went to Kubrick's house for dinner. Kubrick asked him if he liked the movie. Spielberg, who didn't like the movie in the first viewing, started to tell Kubrick all the things he liked about the movie, rather than telling that he didn't like the movie. Kubrick saw right through him and said, "Steven, you obviously didn't like my picture very much". Spielberg replied, "There is a lot of things that I like about the picture". Kubrick stopped him and said, "But there is a lot of things you didn't love about the picture, probably a lot more that you didn't than did. So tell me what you didn't like about it." Spielberg pinpointed Jack Nicholson's performance. He called him a "great actor" and a "great performance", but a "Great Kabuki Performance", almost like Kabuki theater. Kubrick then asked, "You mean you think Jack went over the top?". Spielberg replied affirmatively. Kubrick then asked Spielberg to name his top 5 favourite actors of all time without thinking much. Spielberg listed Spencer Tracy, Henry Fonda, James Stewart, Cary Grant and Clark Gable. Kubrick said, "Stop" & questioned, "Where was James Cagney on that list?" Spielberg said that he is up there high, Kubrick then said, "But not in the top 5". Finally Kubrick said," You don't consider James Cagney as one of the 5 best actors around, but I do. This is why Jack Nicholson's performance is a great one." Since then, Spielberg has caw "The Shining" more than 25 times & considers it one of his favourite pictures. P.S: Remembering the legendary American actor James Cagney on his 127th birthday! Clip from: One, Two, Three (1961) Director: Billy Wilder

DepressedBergman

396,507 görüntüleme • 17 gün önce

I love the raw feel of these one-takes. They definitely hearken back to the early Guerrilla Bars days when I’d just be walking through environments rapping about whatever I saw. I also love the excitement of being a few minutes into a one-take and realizing that anything could happen and I’ll have to find a way to incorporate it and make it work. This format is impossible to fake, which is probably what I love most about it.

I love the raw feel of these one-takes. They definitely hearken back to the early Guerrilla Bars days when I’d just be walking through environments rapping about whatever I saw. I also love the excitement of being a few minutes into a one-take and realizing that anything could happen and I’ll have to find a way to incorporate it and make it work. This format is impossible to fake, which is probably what I love most about it.

Harry Mack

28,672 görüntüleme • 1 yıl önce

Satanic Rituals, NASA, and the U.S. Government. Why are so many military intelligence officers, NASA scientists, elites, and other government employees involved in Satanism? One of the most important pieces to the puzzle of the "phenomenon" and presence of these "beings" is the connection to sigils and alters. The most important people in the field know this but do not speak mainstream about it, why? Why aren't they communicating this aspect of the overall picture? Is it to hide the true nature of what these "beings" really are? Why didn't the U.S. government want the public to know they they were performing Satanic rituals to make contact with these "entities?" And, if there is nothing to it, and just a bunch of Satanic members performing sex Magick and other ritualistic practices, which involve children, then why is it still so important, and why are they still doing it and keeping it such a secret? These is a piece to the overall subject, even when it comes to MKULTRA, Epstein, and the ritualistic abuse of children. It's all connected.

Satanic Rituals, NASA, and the U.S. Government. Why are so many military intelligence officers, NASA scientists, elites, and other government employees involved in Satanism? One of the most important pieces to the puzzle of the "phenomenon" and presence of these "beings" is the connection to sigils and alters. The most important people in the field know this but do not speak mainstream about it, why? Why aren't they communicating this aspect of the overall picture? Is it to hide the true nature of what these "beings" really are? Why didn't the U.S. government want the public to know they they were performing Satanic rituals to make contact with these "entities?" And, if there is nothing to it, and just a bunch of Satanic members performing sex Magick and other ritualistic practices, which involve children, then why is it still so important, and why are they still doing it and keeping it such a secret? These is a piece to the overall subject, even when it comes to MKULTRA, Epstein, and the ritualistic abuse of children. It's all connected.

The SCIF

57,251 görüntüleme • 5 ay önce

How a Chief Design Officer (yours truly) uses AI to design like an IC. This demo is for any designers that haven't yet embraced AI in their workflow. I’m one of two designers working on this plugin. I manage an organization of about 40 designers of various flavors, but I still keep myself in the trenches whenever possible. Lynt is one of these efforts. The examples I share are intentionally very simple to demonstrate how any designer at any level can leverage artificial intelligence to amplify and accelerate their human intelligence. AI is revolutionizing how we work as designers, yet I think of it more like a renaissance; a return to designing in consideration of the medium in which our designs are rendered, much like we did years ago when I first started. Arbitrarily, something like 80% of what we do as designers (in the act of designing) is exploration and iteration. For the past decade or more so much of that has happened in Figma and previously Sketch. These are great tools. But as a result of designing exclusively in a static environment, many have lost the ability to connect ideation with execution. Handholding your work from start to finish eventually gave way to handing off your work, and we never looked back. Artificial intelligence flips all of this on its head, positioning you (the designer) to be the one who first turns your design into code, iterate and iterate again, and experience using your work as users will, literally from day one of your design process. All the while freeing our engineering colleagues to focus on the work that only they can do, while designing alongside them.

How a Chief Design Officer (yours truly) uses AI to design like an IC. This demo is for any designers that haven't yet embraced AI in their workflow. I’m one of two designers working on this plugin. I manage an organization of about 40 designers of various flavors, but I still keep myself in the trenches whenever possible. Lynt is one of these efforts. The examples I share are intentionally very simple to demonstrate how any designer at any level can leverage artificial intelligence to amplify and accelerate their human intelligence. AI is revolutionizing how we work as designers, yet I think of it more like a renaissance; a return to designing in consideration of the medium in which our designs are rendered, much like we did years ago when I first started. Arbitrarily, something like 80% of what we do as designers (in the act of designing) is exploration and iteration. For the past decade or more so much of that has happened in Figma and previously Sketch. These are great tools. But as a result of designing exclusively in a static environment, many have lost the ability to connect ideation with execution. Handholding your work from start to finish eventually gave way to handing off your work, and we never looked back. Artificial intelligence flips all of this on its head, positioning you (the designer) to be the one who first turns your design into code, iterate and iterate again, and experience using your work as users will, literally from day one of your design process. All the while freeing our engineering colleagues to focus on the work that only they can do, while designing alongside them.

Cameron Moll

57,934 görüntüleme • 3 ay önce