Earlier in the week, I shared why I don’t make time to watch or re-watch as many high-quality films or as much high-quality media as I would like, opting instead for lesser fare. It’s a problem far too common among people today. I’d like to help solve that problem, as I’m sure others would like to kick the habit as much as I do. So, here are five suggested ways to fix the problem.
To be sure I’m 100% clear, nothing in this article should be taken as encouragement to decrease the quality of one’s content creation – but rather as an encouragement to change one’s viewing habits.
I know it sounds counter-intuitive, but, despite being the solid long-term approach, having the best content may actually hurt your viewership numbers in the short-term.
With nearly every possible combination of the terms digital, IMAX, 2D, 3D, HFR, and non-HFR, Peter Jackson’s The Hobbit: An Unexpected Journey (2012) is being released in more formats than any other film ever made. It’s also introducing a new variable that, should it become more mainstream, would cause a similar set of cinematographic problems.
“HFR” is short-hand marketer-speak for “high frame rate.” But it affects other variables that the cinematographer should be intimately controlling as well. The so dubbed HFR is the newcomer to the scene – and has been misunderstood even by many of my industry friends let alone the average moviegoer – [insert faux 'spoiler alert'] it’s not just about the framerate.
So, here’s a look at what HFR really does to your image straight from a cinematographer’s mouth…errr…pen…err…whatever.
You missed something important.
During The Dark Knight Rises (2012) theatrical run, you didn’t catch the real importance of Catwoman’s appearance in the film.
What follows is a character analysis to give you a dissenting take on her place in Nolan’s Batman universe. In this part, we’ll cover some poorer interpretations and what doesn’t work about them.
I thought it would be fun to publicize my own director shortlist. These are my personal choices for who I’d like to see given a shot at Episode VII.
Naturally, if I actually had a say in that decision making process, I’d be under the strictest NDA known to man and wouldn’t be writing this post at all. So don’t blame me if none of these choices gets the job.
QUALITY, SPEED, PRICE – PICK TWO
Let’s use freelance video editing as a starting point. If you want to find the right person to tackle your project, you need to prioritize. You would like to have a quality product delivered on a short timeline at a low price, but the first step is learning to accept that you will likely only get two out of three.
It is important to realize this before making any decisions. Too often clients have a set budget and a set timeline. They hire the freelancer who promises quick results at a low price, only to find that the results are of such low quality that they can’t be used. That investment is now wasted.
Working under the assumption that quality work is important to any client, there are two paths of foresight that can prevent these disasters from happening. Here’s how to attract that freelancer who will give you a quality project you can actually use…
I may not have any kids yet, but I have recently discovered the answer to the most important parenting question of all time. That’s right, I’ve decided in what order to make my kids watch Star Wars.
The link above is an absolute must read in its entirety for anyone who is a fan of the series or has seen the series and cares about learning how to tell a story. Needless to say, there are plenty of major spoilers for all six films in the link above as well as in the quotes and content in the remainder of this post.
As hinted at in Wednesday’s blog post, the first post of my soon-to-be regular guest post series on toturnbacktime.com’s Project Updates feed is live. Check it out…
As a sports broadcaster, yesterday marked an important date in the world of baseball, as it was Opening Day across both MLB and MiLB…
All the secrets of outstanding photography can really be boiled down into one fairly simple goal. It sounds like a high calling, and in some ways it is. Only the best photographs live up to this standard.
And yet, if you keep it in mind regularly while shooting, it really doesn’t seem that hard anymore. Even when I don’t fully accomplish this goal, just keeping it in mind as a benchmark improves the images I bring home.
Find out what it is…
Cinema has been around for roughly a century. That means we, the cinematographers and directors of the world, have spent the past 100 years trying to perfect the art of taking something from the real world and displaying it to an audience in two-dimensions. Perspective, depth of field, production design choices, proper lighting setups, atmospheric perspective, good blocking, and a host of other factors allow us to represent a three-dimensional reality on a two-dimensional canvas.
Some have dedicated their whole lives to learning this trade, and even then build mostly on those who came before them. Even before cinema, painters had spent centuries establishing the basic rules of creating artificial depth on the canvas. Before I continue, I should say this is not a rant about how a group of skilled trade workers (cinematographers) now have their jobs threatened by a new technology that is forcing them to throw out what they’ve learned and start over learning the trade anew. It’s not even purely a rant about how 3D is destroying the 2D artform.
It’s quite the opposite. No one’s job is threatened. The fact is, producers of 3D movies are hiring the same cinematographers that they have always hired to shoot 2D movies, and, in some ways, that is precisely the problem.