This video shows the basic timeline of the Boston Marathon Bombings (April 15-19, 2013). During just one week the United States experienced a great turmoil of emotions as trying to pinpoint the reasons why and who. The government, the media, and especially social media were trying to search for answers and all effected each other, similar to Newton’s law of motion (“For every action, there is an equal and opposite reaction”).
Footage & Photos used from: NBC, Boston Globe, RT, AP, MSNBC, Fox News, CNN, NPR, New York TImes, Telegraph, and the people of Twitter.
Made for SCADdistrict.com
I think it’s the responsibility of films and television to accurately represent people, and the diverse group of people out there. And I think as more people see different types of lifestyles represented on TV, they’ll understand that this is just a realistic part of our world and our community. So, I was very proud to represent bisexual characters. -Olivia Wilde [x]
Q&A with cinematographer Emmanuel Lubezki, ASC, AMC on shooting To the Wonder
Emmanuel Lubezki i the finest cinematographer in the world today.
This was created for the final year artists at Teesside University who held an exhibition for their work at Cleveland Art Centre. It was great fun to make and edit together, met some lovely people and gained some new skills!
Shot on Canon 5D Mk II and a Canon 550D with a Glide Gear rig.
Music Credit : - “Pony” by Gillicuddy (gillicuddy.net)
How To: Directing Actors - Line Readings and Why They Are Bad
Line readings are telling the actor what inflection to give a line and where is is in a sentence. For the line “You always do that.” there are at least four different line readings because there are four different words you can inflect. “You always do that.” You always do that” etc and they can all give different meanings to a sentence.
What’s wrong with line readings? Well, one problem is that the actor might obey you, and repeat back the line with the new inflection but without any life behind it. Of course it is their job to give it life, but sometimes the line reading makes no sense to the actor; if he asks you what it means, you want to be able to do more to clarify the direction than just repeat the line reading over and over.
The meaning of the line, not the inflection, or result is what the director should be communicating to the actor. The actor is there to create the delivery that conveys the meaning that the director wants. The worst problem with giving line readings is that they may signify that the director doesn’t really know what the line means, or what the intention is, or what the scene is about.