A look at the hidden power of film props.
And how filmmakers use the everyday (and not so everyday) objects in their scenes to enhance cinematic storytelling.
Written, edited, & narrated by Rishi Kaneria (@rishikaneria).
“Baba O Riley” by the Who
“Kid-A” by Punch Brothers
“Rabbit In Your Headlights” by Unkle
“Where is my mind” by Vitamin String Orchestra
“Magic” by Mick Smiley
“Sinnerman” by Nina Simone
“Intermezzo” by Pietro Mascagni
“Monkey Fight Snake” by the Bombay Royale
“I Hung My Head” by Johnny Cash
“The Thing That Made You” by Dan Romer
"Once There Was a Hushpuppy" by Dan Romer
“If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely must go off. If it’s not going to be fired, it shouldn’t be hanging there.”
The concept for For the main title sequence for Netflix Original Series, Narcos, was shaped through discussions with show creators and extensive research into the histories of Narcos trafficking. With the beautiful title track - Rodrigo Amarante’s “Tuyo” - as a starting point, the desire was to bring an authenticity to the visuals that complemented the themes and mood of the show.
Using a vibrant palette and seamlessly blending the worlds of created and curated imagery, a voyeuristic and sensual aesthetic was developed, that merged the visual languages of reportage and the lavish excess of the time.
Directing a team of designers, animators and VFX artists, shot plates were united with design and animation, then layered with archival photography, typography, and visual effects. Sources varied wildly in origin and quality. Difficult to obtain shots were either sourced or painstakingly re-created. It included high speed footage and 5K plates shot on location in Bogota, Colombia and LA, and film and video archival imagery - including photography that was sourced in person from the vaults of Escobar's personal photographer "El Chino”.
Client: Gaumont International / Netflix
Creative Director: Tom O’Neill
Lead Animator/Compositor: David Badounts
CG/Design Lead: Joshua Smith
Editor: Nik Kleverov
Producer: Paul Makowski
Live Action Producer: Chad Stanley
Shot By Shot
Film : Jaws
Director : Steven Spielberg
Scene Breakdowns : Brody wakes up and leaves 2:10 - Brody and Cassidy discover Chrissie's remnants 5:25 - Brody at the office 7:55 - Brody goes downtown 9:20 - Shark attacks 11:20 - The Town Meeting 16:35 - Brody Hooper and Vaughn 22:40 - Brody Hooper and Quint 27:30 - Brody and Ellen say goodbye 31:05
Special Thanks to Mitchell Rose (mitchellrose.com) who kindly corrected the typos
Directors Dan Gregoras and Jeremy Cox explore the careful art of bomb-making and social planning in this main title sequence for WGN’ America's Manhattan. Set in Los Alamos in 1943, Manhattan chronicles the lives and families of the scientists building the world’s deadliest weapon, and exposes a world full of secrets and consequences.
Designed & Produced by: Imaginary Forces (IF)
IF Creative Director: Dan Gregoras
IF Art Director: Jeremy Cox
IF Executive Producer: Gabriel Marquez
IF Producer: Jon Hassell
IF Designer: Griffin Frazen
IF Animator: Sekani Solomon
IF Cel Animator: Peter Ahern
IF Editor: Karl Amdal
IF Additional Design: Audrey Davis, Tim Haldeen
This is a compilation of mostly simple things I see in a lot of tutorials that help to make motion graphics look better. Not a recipe so much as a list of ingredients you might want to consider using. I always wished I had something like this when I first started making motion graphics, so I thought some beginners out there could benefit from it.
Full blog post and breakdown here: http://www.derek-lieu.com/2014/04/26/25-simple-tricks-for-better-motion-graphics/
Music: "Inner Animal" by Scattle from the Hotline Miami Soundtrack (http://scattle.bandcamp.com/track/inner-animal)