101 blog posts found matching keyword search for: actors in Waycross
Sooner or later, every commercial filmmaker comes across a project that, for one reason or another, requires him or her to conduct an interview. Whether it’s a brand film, documentary, or testimonial, interviews with ‘real people’ (non-actors) bring a unique set of challenges. Most producers know this, and they also know that they ought to prepare for this kind of interview-but how?
From Rawson Marshall Thurber, the writer/director of Central Intelligence and We’re the Millers, comes the YouTube Red comedy series, Ryan Hansen Solves Crimes on Television*. In the genre-bending show, the LAPD creates a task force that partners actors with detectives. The series was shot by cinematographer Charles Papert (Mary + Jane, Key and Peele) with VariCam LT cinema cameras.
We’re in a time when live actors share the screen with puppets and avatars, shows like The Orville are taking onscreen space travel to a whole new level, and armies of walking dead are taking over the streets of Atlanta. And with real-time rendering behind the scenes, post production crews are doing it all at the fastest pace of all time. It’s an exciting time to be in visual effects. With technology advancing rapidly and many of the previous obstacles falling away, it’s also a highly competitive and challenging time. For more on the subject, we talked to an industry veteran.
If you are an indie filmmaker then you know that casting is that wildcard that can make or break your chances at festivals, awards, and making all of your hard work worth it, and that mis-casting can make your shoot a living hell. The breakdown is the fateful first step in the casting process.
Oliver Hollis-Leick, the Founder of The Mocap Vaults, is a 13-year mocap acting veteran who has worked on over 80 video game and movie titles, with roles in such films as “Iron Man 2,” “Stardust,” “Total Recall,” “Harry Potter and the Order of the Phoenix,” “Godzilla,” “Hercules,” “Fred Clause,” among many others. Hollis-Leick shares his thoughts about the specific creative skills motion capture demands and how software tools like iPi Motion Capture is helping change how motion capture content is created.
If I had to pick one constant among independent film festival submissions it would be unintelligible dialogue. The cause of desperation of every director; the bane of every mixing engineer’s existence; the source of suffering of your friends and family, forced to go through a whole movie they don’t understand because the actors’ words simply can’t be heard. This and many other nuances of your film’s sound are the victims of a few often overlooked details, which in turn result in the delivery of a subpar soundtrack, driving your audio post team insane and wasting production money. Good news is these mistakes can very easily be prevented. You can start by tackling a few key issues often associated with your role.
Department of Defense spending cuts are no secret to many government contractors. Working within lean budgets are the way of doing business with the government and in particular, the military.
With the expansion of Inhance Digital's Visual Effects Department, their work has also expanded into the exciting fantasy world of NBC's, Grimm, inspired by the classic Grimm Brothers' Fairy Tales. Now entering into its fifth season, Jason Maynard from Inhance describes just how the team brings the fantasy world to life, how the effects are continuing to evolve and how Blackmagic Design Fusion Studio has helped.
Smaller budget features often have a limited number of shoot days for what a higher budget film might have double or triple the time to shoot. On top of that, a shooting schedule with multiple locations may require moving locations during the course of each shoot day.
DP, Tim Arasheben gives us an inside look at what it's like to shot with Canon's 50-1000mm lens on set on the short film, “Connections." Learn the pros and cons of the lens, along with info about the short and what projects Arasheben has set for the future.