Every Frame a Painting

The filmmaker Tony Zhou is the author of an ongoing series of fascinating essays on analyzing film form: Every Frame a Painting. Covered in 5 to 10mn with a critical and passionate eye, his topics vary between directors, actors or single film scenes.

Every single one of them is worth watching, but my personal favorites are the study of the scene when Clarice Starling and Hannibal Lecter meet for the first time in The Silence of the Lambs, the analysis of Mickael Bay’s intense visual style, and the presentation (and praise) of Edgar Wright’s use of visuals to support comedy.

Those essays can be found on Youtube or Vimeo, with additional comments on tumblr and Facebook. Interestingly, they can also be supported (as in, financially) on Patreon.

The Art of Framing Primer

In a much less detailed way than the cinematography analysis I previously mentioned, yet still very interesting, the film-making site Mentorless covers the visual composition used in the independent film Primer. The article, The Art of Framing Primer, outlines in particular how simple techniques allowed to make up for the extremely low budget (the film was completed for $7000).

Splitscreen: A Love Story

The following is a short by James W. Griffiths. I completely forgot to mention it here; fortunately I remembered it today and felt like watching it again.

While it is simple, the direction and care for details are outstanding. The images were shot entirely using a Nokia N8 mobile phone, which sure puts in perspective the kind of stuff one can do with just such a device.

Unintentional film looking shot

Snow suddenly started to fall over Tokyo last night, quickly building a white layer over the never ending city. I was too lazy to grab my gear and all the stuff one needs to get out during a cold night, so I just hoped the snow would still be there on the morning and decided that I would take my camera with me on my way to work.

It was still there (although it had become ice) and it was giving the morning sunlight some exquisite tones. I love the morning light anyway: grazing, harsh, drawing bold shadows on faces and buildings… But the reflections due to the snow really make a difference.

While waiting for the train on the platform, I wanted to take a picture of that girl on the other side, lit by that light. But I didn’t even have time to aim and the train was there already. I took the shot anyway, in the hope I would catch it through the window.

The result is a bit unexpected: the tinted glass and blacklit inside give the picture a film feeling, as if tones were post-processed and black mattes were added.

The filmic train

The filmic train