“Begin at the beginning,” advises the King in “Alice in Wonderland, “and go on till you come to the end: then stop.” You can’t really go wrong with that structure. Yet, there are alternatives as we learn from movies such as “Rashomon,” “Pulp Fiction,” “Groundhog Day,” and “Memento.” Filmmakers increasingly love to twist and bend…
read more →One of the major arguments against vertical filmmaking is that the results look ugly when presented on YouTube, Vimeo, and other conventional screens. Those two black bars sandwiched around the content are a big distraction. Worse, when the action moves horizontally—for example, a dance sequence or a football match—the filmmaker is forced to pan back and forth…
read more →Set in and around the Empire State Building, Eminem’s new music video “Venom” was shot—in part—on Google’s Pixel 3. In the tradition of recent Apple-sponsored commercials, the approach doesn’t focus on the phone. Instead, it shows what the phone can do. You can see the result here and read the lyrics here. While the project—co-sponsored by Jimmy Kimmel Live—is…
read more →Guerrilla filmmaking suggests low-budget projects shot on real locations, which are used without obtaining permits. The casts will be small with each crew member handling a variety of jobs. Typically, the films will fit into a dramatic genre such as romance, horror, or thriller. But as Los Angeles-based choreographer and dance teacher Lilian Manansala shows us, the approach can work beautifully…
read more →Historically, an interpretive dance features a dancer whose movements tell a story or express an emotion—or both. That tradition lives on in an interpretative dance video with one additional element: the camera becomes a dancer partner…and so does the audience. When you watch Claudio Pelizzer’s “Carry Me Home,” you not only observe the movements of Angela Delfini, but you…
read more →Metric’s latest music video—”Dark Saturday”—should give pause to mobile moviemakers who hate vertical videos. Here, director Justin Broadbent used an iPhone X to shoot separate portrait-oriented videos for each of the four band members. He then combined the footage to capture how each character dealt with late-night loneliness. The result—which should please those who favor traditional framing—is a landscape-oriented movie consisting…
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