Even if you’re not a wedding photographer or videographer, you may have had proposals to shoot a wedding. If you know how to use a camera, someone’s going to ask you to shoot their wedding sooner or later. And if you decide to accept, Rob Nelson gives you some useful advice how to make a really great wedding video.
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Timing is a huge component of successful filmmaking. So is framing. And director David Fincher has a good handle on both.
There are a variety of reasons to use invisible split-screen composites in filmmaking, from honing the timing of shots to multiplying your actors on small-budget projects. When properly applied, this technique can be used as a tool to craft a dynamically powerful scene and is a trick that Fincher admits to implementing countless times throughout each of his films.
In this tutorial, Ben Gill gives us a breakdown of the technique, how masters like Fincher apply it, and how you can create it yourself.
Editor’s Note: I am a big SNL fan and I love their super stylish opening title sequence. The production of this sequence shows true mastery and understanding the photography format (they use freelensing, creative bokeh, light painting, tilt-shifting and just about any other creative tool out there). Alex Buono, the Director of Photography of the sequence shares how it was made.
…And we’re back! After a much-needed summer hiatus, it’s that time of the year again when my comrades in the SNL Film Unit all reconvene on the 17th floor of 30 Rockefeller Plaza for another season of filmmaking speed-drills.
While the usual shoot is a dead sprint from Thursday thru Saturday night, every few years we produce a new Title Sequence and that sprint becomes a 3-week non-stop marathon. Especially when it’s the 40th Anniversary season. The passing of Don Pardo — the legendary voice of SNL since 1975 — only amplified the feeling that this new sequence needed to be something extra special.