At long last life

Life begins to stir in Cosmo's Tavern. I'm just messing around a bit getting ready to start actual animation on this thing.

TV that's better than movies

Breaking Bad s3 e12 opening

The new season of Breaking bad is about to break, and AMC has been showing all the previous seasons to get everyone hyped up for it. Man, what a fantastic show!! The incredible music video style montage above is just one example.

Below are a few screenshots showing a taste of the innovative cinematography. I've rarely seen interiors shot so dark, with just pools of light and layering used to separate elements. 

In the shot below, bear in mind that green (the color of money) in this show represents a dream of a better life - generally through money obtained via illegal and self-destructive means. Wendy's vertical blinds are a brilliant representation of jail bars too. I also noticed in the montage above that her headboard resembles the Breaking Bad title screen. 

 Here's a series of over-the-shoulder shots that I find amazing...

... Ending with Walt looking tiny and helpless behind his baby's crib in one of those empty dark rooms. Brilliant I tell ya!

And a sequence shot in a large room using two windows covered by opaque yellow shades. The glowing yellow rectangles are used perfectly here as framing devices and abstract shapes to create beautiful compositions. 

At home with the Whites - a tranquil domestic dinnertime scene.

... You know what this kind of lighting really is? It's Chiaroscuro - figures emerging from darkness into light. Like the stuff Caravaggio used to paint. Look it up if you don't believe me!

And here's the closing few moments of the same episode. Powerful television my friends...





I've been hard at work on my film... and I don't want to show too much just before it gets released, so I'm not posting about it. Soon though, you'll be able to watch it. I'm not doing the festival thing, so as soon as I get it done I'm posting it here for the world to see. 

Cinematic side-trip

Black Swan by Darren Aronofsky

I guess everybody knows what the above is. This movie really hit me out of left field. I had only ever seen his debut Pi; Faith in Chaos and didn't care for it, but the trailers for this one caught my attention. And when I saw it, I was blown away. Ok, there are some pats I don't care for, in fact I now understand Aronofsky is known for including some rather jarring moments of lowbrow pop culture in his films, which for the most part are actually quite elegant - almost more like European films than American. 

It made me decide to watch his other films, and I was quite impressed with them all. 

Requiem for a Dream

If you're interested, you can also look up trailers and clips from The Wrestler and The Fountain. I enjoyed all of these movies. Such a nice break from all the Hollywood slickness and homogenized formula. Heh... sounds like something from a baby's bottle, which seems appropriate for most Hollywood movies. 

Anyway, the real reason I wanted to make this post was because my interest in Black Swan also led me deeper into cinematic excellence. I discovered it was influenced by several films I had not seen, so I sought them out and was again blown away by all of them. I hit some kind of Motherlode when I started digging into the fertile soil under Black Swan! 

So here I include trailers or clips from those movies. Get ready for a sweet blast of mostly black and white cinematic excellence! But understand... these movies unlike today's blockbusters are not simple escapist fare or feelgood romantic comedies... they're powerful artistic statements that at times are harsh or terrifying or brutal. Reminders of what art can be when its not subsumed by wishy-washy Disneyfied sentimentality. 

Roman Polanski's 1965 psychological thriller Repulsion

Catherine Deneuve is having a bad day.

The Double Life of Veronique

I was lucky enough to find somebody had uploaded the puppet sequence. 

andrzej wajda's Kanal

These two are in Polish with subtitles. No serious cinephile would let that stop them from enjoying amazing cinematography like this!! These are not directly related to Black Swan, but gems I've discovered recently that I wanted to share. Above is Kanal, based on a real event; the Polish army, armed only with pistols and grenades, were getting hammered by Nazi tanks and bombers, and the remnants of one unit took refuge in the sewer for a very surreal and beautiful sequence I know I'll never forget. 

Roman Polanski's Knife in the Water

Need I say anything about this one? Amazing. 

Book reviews - Cinematic Storytelling, A Shot in the Dark

Here are my thoughts on a few books I've recently read. Starting with one I've had in my Amazon shopping cart for a long time and almost bought several times...

Cinematic Storytelling: The 100 Most Powerful Film Conventions Every Filmmaker Must Know

 by Jennifer Van Sijll
***
I can't say I completely recommend it, at least not until after reading more informative books about directing and cinematic composition such as Film Directing Shot by Shot: Visualizing from Concept to Screen
 and Film Directing: Cinematic Motion, both by Steven D Katz and The Filmmaker's Eye: Learning (and Breaking) the Rules of Cinematic Composition by Gustavo Mercado. 

It seems to be part of a series of books published by Michael Wiese Productions all made in the "widescreen" format, I think trying to cash in on the HD craze. The layout of these books is similar to the 16:9 HD aspect ratio, and the books are designed to be visually appealing, but seem to be very sparse on information. There's a lot of blank white space, and what few words there are suffer from a stiffly formulaic presentation loaded with pointless repetition. Each page only features a few brief paragraphs and feels like it could have been developed a lot more. And then to waste more space, each chapter pointlessly lists the credits for each movie mentioned in that chapter - what's the point of that? I wouldn't mind it if it seemed the actual descriptions of the cinematic conventions themselves -- the meat and potatoes of the book - were more fully presented first, but it seems the credits listing eats up valuable space that should have been devoted to more fully developed discussion of those conventions.

I'm not completely panning the book... it IS a good brief introduction to "100 cinematic conventions every filmmaker should know". But that's all it is. To make an analogy, it's like a book that lists 100 great ingredients with very brief notes as to how each tastes and what kind of dish it can be used in, but has no recipes in it. The books mentioned above have those recipes... they go into great detail about staging and blocking and how to arrange actors and scene elements for various effects. The information in those books is presented in such a way that you come out with coherent understanding of how to set up certain types of scenes. 

Once you have a grounding in that kind of detailed info, then a book like Cinematic Storytelling is a good addition... some additional ingredients to add to your dishes once you know how to cook them. But that listing of ingredients does no good until you know some recipes.





A Shot in the Dark: A Creative DIY Guide to Digital Video Lighting on (Almost) No Budget 

by Jay Holben

*****
I recently learned that one of my highest recommended books about lighting - 

Matters of Light & Depth by Ross Lowell - has been chosen as a textbook and as a result the price has skyrocketed. In a recent review, I panned Motion Picture and Video Lighting, Second Edition by Blain Brown as being pretty useless for anyone setting up a stopmotion studio. So in an effort to find another book I can recommend in lieu of Matters of Light and Depth, I ordered a newly-published (jan of this year) book that sounded good. And it does not disappoint one bit!! Like Matters, it goes into the properties of light - both hard and soft light, and how they're created and what kind of effects can be achieved with each. Lots of great example pics, and also a great bonus - a section on do-it-yourself electrical wiring, I especially like this, as I've dine some bodgering of light fixtures myself, guided only by Nick Hilligoss' advice, and now thanks to Jay Holben's excellent electrical teaching, I have a pretty decent understanding of the relevant considerations when doing this sort of thing. It's all about the AMPS... he'll tell you why and give you simple conversions to figure out just how much amperage you need when selecting cords and other electrical components. 

In fact, his coverage of lighting in general is very thorough... but there were still a couple of ideas covered in the Lowell book that aren't here... namely off the top of my head Lowell mentioned an important concept from old Hollywood techniques calling for the separation of subject and background so that you have complete control over each without it affecting the other. Ah, but what can you do? This is an excellent book and gets my highest recommendation!! And in fact I'm just about to be the first to review it on Amazon. 

NW Animation Festival - run by Sven!!

My friend and fellow stopmotion animator Sven Bonnichsen has created an animation festival in the NorthWest (hence the name). It's not only for stopmo, but for all animation techniques. Sven is a great guy and a tireless creator and worker behind the scenes in all sorts of artistic endeavors... the kind of people it takes to run festivals like this. Here's the info --

NW ANIMATION FESTIVAL 2011:  Call For Submissions

The NW Animation Festival is now accepting entries for 2011. Films from anywhere in the world are welcome. Deadline is May 1, with discounts for students and films received by April 1. The festival will be held on June 3-4-5, in the heart of downtown Portland Oregon at the historic 5th Avenue Cinema. See website for details and submission form: nwanimationfest.com

ABOUT

This is a festival created by animators, for animators, and all lovers of animation.

We are people who hunger to see MORE.  Not just the year's top 10 shorts... We want to feast on the year's top 100!

We've thrown the door wide open for submissions.  Films may come from anywhere in the world. You may submit films made at any time during your life. And you are free to simultaneously show your work online or at other festivals.

We know that great animation comes from all levels. Contributions from students, independent artists, and professional studios are all valued equally.

All types of animation are encouraged:  hand-drawn, computer-generated, stop-motion...  We attempt to program shorts blocks focusing on each method separately—both to educate, and to satisfy each methods' enthusiasts.

We strive to pack the weekend with as much animation as possible. But the festival is still bigger than just this. Select films go on to become part of our "Best of the NW Animation Fest" traveling show, which will tour the region during the following year.

For more, visit: nwanimationfest.com

(contact:  director@nwanimationfest.com)

Enabling live view out on the G1!!

Well well.... Lookie what I got here!! It LOOKS like a honest-to-goodness Live Video Feed from my G1. But -- it can't be. No such thing is possible, right?

Wrong!!

There's a little trick - a hack of sorts, in Panasonic cameras (some anyway - I'm assuming the ones with an LCD viewscreen attached)). All you have to do is hold down the trashcan button for about 30 seconds in record mode (regular picture-taking mode, not review mode). Suddenly the image on the viewscreen of the camera will go dark for just an instant. Was there a tiny click or sound of some sort from the camera? I thought so, but it might have just been something in my head busting wide open from the sudden release of tension, and the inrushing of excitement to replace it.

I can't even tell you what a rollercoaster these last few days have been for me... deciding to buy the G1, discovering the live feed doesn't work, the anger and frustration and the decision to sell it and start researching for a micro four thirds camera that would work... then the sudden green light when I remembered reading that this trick works with some cameras.

I was sitting down at the time eating some stir fry chicken and watching the trailer for the upcoming Harryhausen Tribute when it happened. I leaped from my seat in a rush of excitement to try it, but decided to wait till I was done eating so my rather excellent dinner wouldn't go cold. I could hardly contain myself... and ate way too fast. With a bit of a tummyache, I then levered myself up and began to set things up for the test. Imagine my consternation and frustration when before I could even finish opening Framethief the camera shut itself down with an audible electronic groan due to expended battery life!!

I put it on the charger and chewed my nails for 2 and a half agonizing hours waiting as electricity slowly trickled into that faceless, mocking little cube of plastic. But at last it was full as I was, and the test commenced. Now I'm full and satisfied. What a day!!


Oh, and yes, I can easily make all the screen icons go away with the click of a button.


Oh oh!! And I almost forgot to add.... you have to reset the Resolution settings in Framethief to 3:2, which is the native resolution of the Micro Four Thirds camera system (strange as that may sound... part of the reason for the very name is because the default resolution they provide is 4:3). Another discovery made in my exhaustive research recently to save the day. I kept trying various resolution presets provided in Framethief to no avail, Buster always looked either too Laurel or too Hardy, if you get my drift. But of course, the presets were configured for VIDEO cameras, not still cameras! So recalling a strange bit of trivia I dug up the other day (which incidentally explains why the MFT cameras truly use full resolution in all aspect ratios, 16:9 as well as 4:3 etc) I manually punched in 3:2 and it worked!

Heh... actually this explains the weird setup with Skulkin leaning on Buster above.... I was beginning to doubt my eyes and think that maybe Buster was really either thicker or thinner than I believed. I propped Skulkin up against him so I could see another face... Buster's is rather strangely proportioned.

It didn't help... Skulkin is rather weirdly put together too...

The Lumix Smackdown Challenge - putting the G1 and the FZ50 through their paces

XtremeCloseupG1full

I won't write a lot about this here... just click the image above and view the group of pictures uploaded to my Lumix Smackdown Challenge set. Yes, I finally decided it was time to buy the much-lauded G1 and give it a whirl. 

A warning right up front though - DO NOT BUY THE G1 FOR STOPMO!!! It does NOT have a true full-time live feed that works with a framegrabber!!! (Actually it DOES have live view out - see next post for details on how to enable it) In many other respects it remains similar to it's larger but less refined cousin the FZ50, but for some reason Panny decided to disable the full-time live view out. 

In fact my research revealed that NO Micro Four Thirds camera yet made has live view out that actually functions in another device (like a framegrabber for instance)... until the newly-released GH2. I might be selling my shiny sexy new G1 to get one and test it out. Keep watching this space. 

Ok, for more info check THIS THREAD at the stopmotion message board. 

Enough typing for tonight... Im wiped out from massive research and camera testing.