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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 次观看 • 1 年前 •via X (Twitter)

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Mr. Morales & the big steppers’ 的头像

Mr. Morales & the big steppers’1 年前

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

Scott Jeschke 的头像

Scott Jeschke1 年前

So glad. They are a lot of fun to make

Bi-tácora bicolor 的头像

Bi-tácora bicolor1 年前

Jesus

Scott Jeschke 的头像

Scott Jeschke1 年前

😂😂

Mandana Wright 的头像

Mandana Wright1 年前

This film just ruins me. Absolute puddlemode.

Tanyeno 的头像

Tanyeno1 年前

Love this!

rascalsandals 的头像

rascalsandals1 年前

This movie is AI !!!!!

P.J. Marino 的头像

P.J. Marino1 年前

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

Scott Jeschke 的头像

Scott Jeschke1 年前

Thanks, PJ! Whoah! Very cool

FictionalGUY 的头像

FictionalGUY1 年前

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.

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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

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

475,026 次观看 • 1 年前

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 次观看 • 1 年前

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

220,837 次观看 • 1 年前

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 次观看 • 1 年前

(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 次观看 • 1 年前

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

84,922 次观看 • 1 年前

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

109,211 次观看 • 1 年前

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 次观看 • 10 天前

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

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The Rewatchables

36,284 次观看 • 29 天前

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.

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 次观看 • 6 个月前

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

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

246,143 次观看 • 14 天前

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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 次观看 • 3 年前

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:

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:

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13,825 次观看 • 23 天前

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CNN

130,154 次观看 • 2 年前

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”

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

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The Hollywood Reporter

13,316 次观看 • 9 个月前

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1,285,342 次观看 • 3 年前

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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

200,468 次观看 • 24 天前

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.

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 次观看 • 1 年前