Within the first two decades of motion pictures, a wide range of discussion about the medium had developed, at many levels of appreciation and analysis—newspaper reviews, professional trade periodicals, books on production technique, fan magazines, and gossip columns, among others. By the World War I era there were even scholarly monographs and the first university courses. In the 1930s archives were founded on the model of, and sometimes associated with, art museums, to collect films for posterity and make important works available for public appreciation. As new media have emerged, sometimes rivaling motion pictures in popularity, they have nevertheless offered additional venues for commentary on many aspects of film.
At the beginning of the 21st century, for example, the Internet provided uncounted thousands of Web sites for information and opinions on motion pictures, stars, directors, the industry, film history, and much more. Both broadcast and cable television channels offered regular programming and frequent specials with news on the lives of actors and the making of new films. Some magazines were devoted entirely to covering the entertainment media, while nearly every popular periodical and newspaper gave coverage to motion-picture personalities, new films, and industry developments. Interest in major Hollywood blockbusters extended to the reporting of how these mega-releases fared each weekend at the box office, with films ranked by income as if they were competing in a sporting event. (Some of this coverage could be explained as a promotional effort by media conglomerates that operate movie studios along with newspapers, television stations, and Internet sites.)
Film studies in universities and colleges greatly expanded beginning in the 1970s, an expansion based in part on a growing recognition that the medium’s artistic achievements were worthy of study and also on the view that its cultural influence in conveying political and social attitudes to wide audiences required analysis and critique. Teaching and scholarship—assisted by the growing availability of older works through archives, television and cable programming, and video and DVD release—explored social issues such as how race, class, and gender were represented in films. Motion-picture genres, directors and stars, industrial practices, and national cinemas became subjects for courses of study and research. University presses annually published dozens of scholarly books on film history, theory, and aesthetics, as well as sponsoring or distributing academic journals.
At the beginning of the 21st century, for example, the Internet provided uncounted thousands of Web sites for information and opinions on motion pictures, stars, directors, the industry, film history, and much more. Both broadcast and cable television channels offered regular programming and frequent specials with news on the lives of actors and the making of new films. Some magazines were devoted entirely to covering the entertainment media, while nearly every popular periodical and newspaper gave coverage to motion-picture personalities, new films, and industry developments. Interest in major Hollywood blockbusters extended to the reporting of how these mega-releases fared each weekend at the box office, with films ranked by income as if they were competing in a sporting event. (Some of this coverage could be explained as a promotional effort by media conglomerates that operate movie studios along with newspapers, television stations, and Internet sites.)
Film studies in universities and colleges greatly expanded beginning in the 1970s, an expansion based in part on a growing recognition that the medium’s artistic achievements were worthy of study and also on the view that its cultural influence in conveying political and social attitudes to wide audiences required analysis and critique. Teaching and scholarship—assisted by the growing availability of older works through archives, television and cable programming, and video and DVD release—explored social issues such as how race, class, and gender were represented in films. Motion-picture genres, directors and stars, industrial practices, and national cinemas became subjects for courses of study and research. University presses annually published dozens of scholarly books on film history, theory, and aesthetics, as well as sponsoring or distributing academic journals.
DSLR Related Blogs/Websites:
- http://philipbloom.net/ (A great DP and one of the most revered DSLR shooters. This site has everything from tutorials to product reviews).
- http://nofilmschool.com/ (Awesome site and a community of filmmakers. Forums, news, articles, product reviews, and very easy to search all this. Make a profile so you can up load and download content).
- http://www.shutterangle.com/ (This guy has about 12 posts and all of them are quite excellent and required readings in this class).
- FilmmakerIQ: this is an amazing vimeo channel with tons of useful videos that explain filmmaking concepts and practice.
- The Black and Blue (a fabulous blog with tips, tricks and interviews on being a camera assistant).
- Richard Evans’ cinematography index (links to stills from iconic films)
- http://www.cambridgeincolour.com/ (pretty much waaaaay more than you will need to know about images, but AWESOME stuff).
- Canon 60D DOF chart for the 14mm, 24mm, 35mm, 50mm, and 85mm lenses
- A sweet DOF calculator that shows you the image you may get
- DOF Calculator (figure out your depth of field easily)
- DOF Charts…make your own for your own cameras and lenses
- Storyboard 16:9 Template or Cinemascope/Anamorphic Template (Your storyboard will begin to get you thinking about shot composition and camera movements in your projects. Storyboards are about what you show NOT how. You do not need to choreograph every shot here, but be as thorough as you can. Another way to do this is to use index cards, draw the images on the front, write camera movement and action on the back, number the cards in order, and then maybe organize them by scene). Here is a GREAT link to help you denote camera movements.
- Here is a link to iPad and iPhone compatible storyboard apps
- Shot List (After the song has been treated and broken down you will want to draft a list of shots that you want to get. This list will be used by the DP and other crew to figure out how to execute the music video’s creative vision.)
- Talent / Model / Minor Release Form (Here is a .doc file of this. Uploaded as a .doc file in case you need to tweak it. You can use this for all types of production, but be very careful with and around minors.)
- Large Group or Concert Talent Release Form (Here is a .doc file of this. The producer of a music video must make sure that this sign is posted in entrance spots to the set and MUST make sure that the sign is filmed at the beginning of any scene where a group of a extras are used in order to prove that they were informed.)
- Copyrighted Materials Release Form (Here is a .doc file of this. Any music, video, or still images that you use in your video that you do not own the copyright on, you must get this release form filled out and signed. Even if someone gives you a verbal permission agreement, STILL, GET THIS SIGNED!)
- Location Release Form (Here is a .doc file of this. If you use a private residence or business you will need to have this form filled out and signed. If you are doing a noticeably large shoot or need special location access for a public location, you will need and permit from the city/town.)
- Lighting Diagram web app (allows you to easily create and share lighting diagrams)
- Film Noir lighting and diagrams
- Green Screen lighting tutorial; How to effectively light a green screen; Chromakey tips and tricks; and Choosing Materials for green screen
- Create a white background; How to get the white background look; More on infinity white lighting
- Guide for Electricity for Light Rigging