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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...

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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

Scott Jeschke profil fotoğrafı
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 !!!!!

P.J. Marino profil fotoğrafı
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.

Scott Jeschke profil fotoğrafı
Scott Jeschke1 yıl önce

Thanks, PJ! Whoah! Very cool

FictionalGUY profil fotoğrafı
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
0:44

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

474,393 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
0:38

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 • 1 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
1:04

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

220,837 görüntüleme • 1 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
0:24

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 • 1 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
0:23

(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 • 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
0:39

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

84,922 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
0:49

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

109,211 görüntüleme • 1 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
1:02

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

21,987 görüntüleme • 4 gün önce

Steven Spielberg explains the endings to 'Munich' and 'AI: Artificial Intelligence'
1:01

Steven Spielberg explains the endings to 'Munich' and 'AI: Artificial Intelligence'

The Rewatchables

36,185 görüntüleme • 22 gün önce

A.I. Artificial Intelligence (2001) has one of the most haunting endings in sci-fi. People debate the tone because Kubrick developed it and Spielberg finished it, but that blend is what makes the film hit so strangely deep.
3:12

A.I. Artificial Intelligence (2001) has one of the most haunting endings in sci-fi. People debate the tone because Kubrick developed it and Spielberg finished it, but that blend is what makes the film hit so strangely deep.

cinesthetic.

2,887,057 görüntüleme • 6 ay önce

When I say filmmakers wish they can make a mid-tier Spielberg film, this is what I mean. His blocking is like watching a little mini-ballet. The camera moves are motivated by the actors. Violà you have at least 9 shot compositions in 35 seconds. Hook (1991) | Steven Spielberg
0:35

When I say filmmakers wish they can make a mid-tier Spielberg film, this is what I mean. His blocking is like watching a little mini-ballet. The camera moves are motivated by the actors. Violà you have at least 9 shot compositions in 35 seconds. Hook (1991) | Steven Spielberg

CinemaCopa

245,160 görüntüleme • 8 gün önce

The greatest shots of one of the masters in STEVEN SPIELBERG.
2:16

The greatest shots of one of the masters in STEVEN SPIELBERG.

All The Right Movies

49,156 görüntüleme • 9 ay önce

Steven Spielberg on artificial intelligence: “The soul is unimaginable and is ineffable, the soul. And it cannot be created by any algorithm, it is just something that exists in all of us.” #AI #Colbert
3:26

Steven Spielberg on artificial intelligence: “The soul is unimaginable and is ineffable, the soul. And it cannot be created by any algorithm, it is just something that exists in all of us.” #AI #Colbert

The Late Show

301,545 görüntüleme • 3 yıl önce

In the gospel workshop I hosted about hearing God’s voice in an age of artificial intelligence, I invited viewers to take specific actions to deepen their relationships with God, self, others, and the natural world and environment around us. In a world of accelerating technology and artificial intelligence, may we never lose the divine intelligence that matters most—the voice of God. Learn more about hearing God’s voice in an age of artificial intelligence:
2:30

In the gospel workshop I hosted about hearing God’s voice in an age of artificial intelligence, I invited viewers to take specific actions to deepen their relationships with God, self, others, and the natural world and environment around us. In a world of accelerating technology and artificial intelligence, may we never lose the divine intelligence that matters most—the voice of God. Learn more about hearing God’s voice in an age of artificial intelligence:

Gerrit W. Gong

13,825 görüntüleme • 17 gün önce

Love and relationships in the era of Artificial Intelligence
2:20

Love and relationships in the era of Artificial Intelligence

CNN

130,154 görüntüleme • 2 yıl önce

Seth Rogen reveals Steven Spielberg shot a whole magazine photoshoot on his iPhone “We did a photoshoot and Steven Spielberg was gonna take the pictures for W Magazine, it’s this huge production, we drive hours out into the desert” “Rick Carter the production designer designed the set, Janusz Kamiński his cinematographer, these people won multiple Oscars, all of them are lighting the shot” “Steven Spielberg lines up the shot and then reaches into his pocket, pulls out his iPhone and starts taking pictures on his iPhone, I was like you’re doing this on your phone, and he’s like it’s a great camera what do you want”
0:41

Seth Rogen reveals Steven Spielberg shot a whole magazine photoshoot on his iPhone “We did a photoshoot and Steven Spielberg was gonna take the pictures for W Magazine, it’s this huge production, we drive hours out into the desert” “Rick Carter the production designer designed the set, Janusz Kamiński his cinematographer, these people won multiple Oscars, all of them are lighting the shot” “Steven Spielberg lines up the shot and then reaches into his pocket, pulls out his iPhone and starts taking pictures on his iPhone, I was like you’re doing this on your phone, and he’s like it’s a great camera what do you want”

Third

1,670,563 görüntüleme • 8 gün önce

“I was offered several times to gracefully bow out of the film,” Steven Spielberg says of directing the troubled production of Jaws, which went on to become a smash hit and cultural phenomenon.
2:37

“I was offered several times to gracefully bow out of the film,” Steven Spielberg says of directing the troubled production of Jaws, which went on to become a smash hit and cultural phenomenon.

The Hollywood Reporter

13,316 görüntüleme • 9 ay önce

Steven Spielberg notoriously figures out how to shoot a scene, camera angles, and block actors on the day - which for most directors is insane. Here's an example of that rare skill from the set of JURASSIC PARK.
2:11

Steven Spielberg notoriously figures out how to shoot a scene, camera angles, and block actors on the day - which for most directors is insane. Here's an example of that rare skill from the set of JURASSIC PARK.

Todd Spence

1,285,313 görüntüleme • 3 yıl önce

Steven Spielberg explains why he walked away from directing the first Harry Potter film, so he could take over filming AI: ARTIFICIAL INTELLIGENCE from Stanley Kubrick. See the film tonight as the director joins us for an evening of his films.
0:34

Steven Spielberg explains why he walked away from directing the first Harry Potter film, so he could take over filming AI: ARTIFICIAL INTELLIGENCE from Stanley Kubrick. See the film tonight as the director joins us for an evening of his films.

TCM

200,344 görüntüleme • 17 gün önce

Priorities is my first 3d film which was finished in 2014 when I was 19. I wanted to move the camera and to create these extended, immersive shots which I couldn't do in hand-drawn animation. There are only 4 shots in this 9 minute film.
9:24

Priorities is my first 3d film which was finished in 2014 when I was 19. I wanted to move the camera and to create these extended, immersive shots which I couldn't do in hand-drawn animation. There are only 4 shots in this 9 minute film.

Gints Zilbalodis

43,156 görüntüleme • 1 yıl önce