The DV Rebel's Guide: An All-Digital Approach to Making by Stu Maschwitz

By Stu Maschwitz

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"I'd been eager to write a e-book for the hot breed of electronic filmmakers,
but now I don't need to. My good friend and fellow motion picture maker Stu Maschwitz has
compressed years of expertise into this thorough advisor. Don't make a movie
without examining this book!"
-Robert Rodriguez, filmmaker and writer of insurgent with no Crew

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Written by way of Stu Maschwitz, co-founder of the Orphanage (the mythical guerrilla visible results studio answerable for awesome and award-winning results in such videos as Sin urban, The Day After the next day, and Harry Potter and the Goblet of Fire), this booklet is a must have for all these budding filmmakers and scholars who are looking to produce motion video clips with visible results yet don't have Hollywood budgets. The Orphanage used to be created via 3 twenty-something visible results veterans who desired to make their very own characteristic movies and stumbled on they can do that by using domestic pcs, off the shelf software program, and impending issues artistically. This advisor information precisely the way to do that: from making plans and choosing the mandatory cameras, software program, and gear, to making particular lighting tricks (including gunfire, Kung Fu battling, vehicle chases, dismemberment, and extra) to modifying and combining sound and tune. Its mantra is that the easiest, cost-efficient motion moviemakers needs to visualize the top product first with a purpose to reverse-engineer the lowest priced method to get there. Readers will easy methods to combine visible results into each element of filmmaking--before filming, in the course of filming and with "in camera" pictures, and with desktops in postproduction. through the publication, the writer makes particular references to and makes use of renowned motion video clips (both low and big-budget) as exact examples--including El Mariachi, los angeles Femme Nikita, Die demanding, and Terminator 2.

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The DV Rebel can apply this same approach to locations. If you wa If you can't get your mic near enough to your actors in a wide shot, is a purely emotional experience, but sound effects are too. Choosing not to add sound effects (see the film The Thin Red Line) is as • And guess what: In both of those examples, the locations in quest were never actually filmed! The X3 scenes were shot on a set in Vanco ver, and Armageddon's Grand Central Station was a miniature. Pick up Sound for Digital Video by Tomlinson Holman (Focal Press).

The walking through an enormous arch-like feature in the craft's design (The Abyss Special Edition DVD Chapter 52). He cut away to a few shots of the actor would fire, glower, and exit, crew's reaction, and then cut back to the approaching Harris, now much and the editor would later insert closer. For the second shot, Harris is actually standing right in front of the shot two into the middle. But I large miniature, although it looks very far away. The part of the scene wanted some smoke lingering in that could never have been filmed, the transition between his distant and the air after all this gunfire, and the toy gun with the realistic firing action wasn't going to give me this.

Having a name actor in your film instantly elevates the stock ticker of your movie. The only way I think it makes sense for the DV Rebel to attempt to play Effects this card is if (a) you are actually crafting a business plan around your film, one that involves seeking distribution or (b) you are best friends with Tom Yeah, there's a whole chapter on effects, but there are some on-set, or Cruise and he sees your new HVX200 and says, "Dude, we should totally practical, effects that you can use to lend your film a more polished look.

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