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December 4, 2018, 6:03 am
Over the years, I have blogged several times about Walter Murch (see links below) whose work as a sound designer and film editor is notable in such movies as Julia, Apocalypse Now, Ghost, The English Patient, and The Talented Mr. Ripley. In my view, Murch has written one of the best screenwriting books — “The Blink of an Eye” — only it’s not about screenwriting, but rather film editing. However since screenwriting is so much about scene construction, perspective, and transitions between scenes, I find Murch’s insights profoundly beneficial to our craft.
August 13, 2017, 4:08 pm
Adobe delivered one of the most impressive papers at this year's SIGGRAPH technical papers. The essence of the paper is to build on previous research to provide Stylized Facial Animations based off an arbitrary example style, such as a painting. This paper is the basis of Jakub Fišer PhD at the Czech Technical University in Prague. This work is so impressive, it seems almost like magic, but in reality their clever solution takes advantage of some special aspects of faces, some core Adobe Photoshop tech and the previously published research that the team has been working on for some time.
August 2, 2017, 9:12 am
When I was twelve years old—bear with me, this will get relevant soon—I and a number of friends and relatives went to see The Addams Family at a well-appointed movie theater in San Diego. I had already seen the movie once, but with compromises being what they are this was the only movie everyone could agree to see and so I agreed, having liked it the first time, to see it again. Before the trailers started, a friend of my dad’s who was a writer and wore leather jackets and was cool, turned to me and asked me how I’d liked the picture the first time, and added that I must have liked it if I was agreeable to see it again. “It’s fun,” I said. But because I wanted him to think I was smart—cool was a bridge too far; this was, after all, a man who owned more than one leather jacket and whose girlfriend was blonde and rather hyperbolic in appearance—I added “But the plot’s kind of stupid.” Soon the lights went down, the movie commenced, and was fun (again). And my dad’s cool writer friend turned to me approvingly and said, “That was fun. And you were right about the plot.” And I felt smart. And almost cool.
May 18, 2017, 5:04 am
Is it really accurate to talk about production when the theme is TV? For production, it smells of fixed procedures, known milestones, and defined requirements - while TV is being developed according to a plan that is constantly changing as one learns from its TV production.
May 3, 2017, 4:52 am
Red (1994). Jeff Smith here: FilmStruck’s latest installment in our Observations on Film Art series presents me talking about Krszystof Kieslowski’s late masterpiece, Red (1994). In the film’s final scene, chance and fate combine to bring a couple together. My comments trace how a cluster of cinematographic techniques has indicated the couple’s connectedness long before they become aware […]
February 27, 2017, 6:26 am
Here is Production Hero's basic guide that we have created based upon both our successes and failures in the industry
Gordon sits down with the Sound Design team (Just nominated for an Oscar) for A Quiet Place. Ethan Van der Ryn and Erik Aadah ...
Gordon sits down with Wyatt Smith to discuss the editing of Mary Poppins Returns and the challenges the film presented him in ...
Gordon sits down with Chayse Irvin to discuss his approach to shooting BlacKkKlansman and his theories about cinematography.
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