Podcasts about Steadicam

This week, we are discussing a listener request with "The Rage: Carrie 2", a sequel I remembered really enjoying as a 13-year-old and still do. We discussed the connection to the original, why the Chess team is never the villains, the parts of the movie borrowed from other '90s flicks, the epic end scene, Rachel's power rules, and more. This was a fun one to discuss, for sure.Watch the unedited video review at sequelsonly.com/carrie2The next sequel up is "Friday the 13th Part II," and for it, I chatted with Actor Russell Todd, who was a victim of Baghead Jason. Russell has the distinction of being the 1st machete kill by Jason. We talked about Russell's journey that started with directing as a kid, his journey to the 1st credit, Friday the 13th, Chopping Mall, being an agent for Steadicam operators, and a ton more. Great chat.Follow us on all social media @sequelsonly, and our website is sequelsonly.comReview, rate, and share us with your friends, enemies, neighbors, exes, and even that annoying supermarket clerk!

In the past on the podcast, we've explored health-tech and medical devices leveraging next-generation technologies to improve outcomes, including innovations in heart health, neuro-tech, and deep tech like AI and Machine Learning. While advancements like Brain Computing Interfaces show promise, we're not there yet. Today's devices and technologies focus on enhancing quality of life now, while innovators pave the way for the future.In today's episode we discuss devices and technologies shaping the present and future for individuals with mobility challenges, a growing societal issue as aging demographics rise in developed countries. With 500-700 million people globally affected by mobility issues—such as fall risks, fatigue when walking, or difficulty transitioning from sitting to standing—these trends carry significant economic, healthcare, and workforce impacts. How can addressing mobility issues make a difference?Listen in with us as we discuss all of this and more with ⁠Rick Sherak⁠, an Air Force Veteran and seasoned Executive Leader in the Medical Devices, Biotech, and Diagnostics Space who is currently the CEO of Exokinetics, a mobility technology company dedicated to revolutionary advancements in the mobility industry and the continued development of  life-changing products to help restore the full range of movement, independence, and a healthier lifestyle for those who struggle with diminished mobility.  Invented by Hall-of-Fame and Oscar winning Steadicam creator Garrett Brown and partners, the Zeen®, Exokinetic's core offering, is a state-of-the-art upright walking mobility device designed for those who are at risk of falling, tire easily when walking, and want to move from sitting to standing independently without assistance.Other insights range from how innovations showcased in the movie Rocky ultimately played a role in shaping the future of health and wellness, to best practices for establishing relationships with the US Department of Veteran Affairs, to how mobility is one of the core pillars as we enter the Age of Longevity.For more details visit TechLink Health ⁠on the web⁠ or connect with Rick on ⁠LinkedIn⁠.This episode was hosted by ⁠Dr. Sarah Samaan⁠.The episode points to several references with links below:⁠

The Cinematography Podcast Episode 307: Johanna Coelho As the cinematographer of all 15 episodes of The Pitt, Johanna Coelho helped create a fresh take on the medical genre's visual style. Executive producer John Wells wanted a feeling of constant urgency and realism to the hospital drama. They chose to treat The Pitt as if it were live theater, meticulously choreographing and blocking every action and movement within the bustling emergency room setting. Most of the episodes of The Pitt were shot in order, which helped with continuity on set. Johanna used the scripts as her blueprint, which carefully detailed character positioning in the background and clearly indicated the point of view for each scene. Her shot lists were fluid, evolving organically from the actors' movements within the space. This approach gave the camera operators remarkable freedom to follow the kinetic energy of gurneys and operating tables as they navigated the ER. The set was entirely open, with few places for the camera people to hide, so the entire crew wore scrubs to blend in. “Because of the way it's shot, the way everyone moves, we do no marks on the set,” says Johanna. “There's no marks, there's no lighting on the ground. It's a 360 set completely.” This required flexibility from the crew to embrace the spontaneous adjustments made by both the actors and the camera team, only doing additional takes when absolutely necessary. With an open set, Johanna and the electrical team had to get creative with their lighting strategy. The lighting was all integrated into the ceiling and run through a dimmer board. Absolutely no stands, flags, or fill lights were on the floor of the set. The gaffer created custom lighting that could be attached to the matte box on the camera and the occasional fill light was handheld on a pole. Cameras were entirely hand held, using a ZeeGee camera rig on a Steadicam arm, enhancing the sense of immediacy. As a result, the actors and crew never had to wait around for lighting or camera setups, which enabled them to shoot at a fast pace, about 9-10 pages per day. “We shoot extremely fast,” explains Johanna. “We come in at call time, we do the blocking and then we're ready to shoot, because the lighting is integrated. It's happening so fast, and we know the space so well. It's mostly the same pace and space all the time.” The immersive world of The Pitt was primarily constructed on a stage at Warner Bros. Studios in Burbank, with select exterior shots filmed on location in Pittsburgh. The production heavily relied on practical effects, employing detailed prosthetics and makeup captured in close-up to amplify the raw and visceral feeling of working in a high-stakes emergency room. “When I read the scripts, I felt it was clear you needed to be immersed in the middle of it,” says Johanna. “It's an experience for the audience, but it was also an experience for the crew shooting it. We were really inside that bubble, inside that ER set with the cast and crew.” You can see The Pitt on Max Find Johanna Coelho: https://www.johannacoelho.com/ Instagram @johanna_coelho Sponsored by Hot Rod Cameras: https://hotrodcameras.com/ Sponsored by Laowa by Venus Optics: https://www.venuslens.net/ The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

Alan interviews Garrett Brown. Inspired by his dad's invention - Garrett grew up to be a serial inventor. As a youth, Garrett went from folk singing to film making. He invented the Steadicam that is used globally in film making. Recently he invented the Zeen - a mobility device to enable disabled people to stand and walk. Make sure to subscribe to the podcast at Apple Podcasts, or wherever you get your podcasts, so you won't miss a single episode. Website: www.GoZeen.com    

Sean Flannery has operated on some of the biggest live broadcasts in the world—Oscars, Grammys, Super Bowl Halftime Shows, you name it. In this episode, we sit down with Sean to unpack what it takes to operate under intense pressure while millions watch live. We dive deep into the technical side of Steadicam and Trinity, break down what it was like bringing the Kenergy with Ryan Gosling at the Oscars, and get an insider's look at filming some of the most iconic Super Bowl Halftime Shows—including performances by Rihanna and Kendrick Lamar. If you're into camera operating, live event production, or just love behind-the-scenes stories from the industry's biggest gigs, this one's for you.

In this episode, we sit down with Matt Poynter ACO, SOC Assoc, BSC to talk about his journey from a young assistant to becoming the President of the ACO (Association of Camera Operators). Matt shares insights into the ACO's role in the industry, as well as his own career path—moving to London, starting out in a rental house, and the pivotal moment when he met cinematographer Sean Bobbitt BSC. We also dive into his experience assisting on documentaries and drama, his step up to A-camera operator in Malaysia, and the nuances of A vs. B camera operating. Matt breaks down how to work effectively with directors and DPs to shape coverage, the importance of building a strong relationship with your dolly grip, and operating tools like cranes and Steadicam. Finally, we discuss one of the most critical skills for any camera operator—staying calm under pressure. Whether you're an aspiring operator or a seasoned pro, this episode is packed with valuable insights from one of the industry's best.

Emilia Pérez is about a Mexican cartel leader, Manitas Del Monte (Karla Sofía Gascón) who hires a lawyer (Zoe Saldaña) to help him disappear, undergo gender affirming surgery, and transition into a woman. But even as Emilia Pérez, she is unable to fully leave her dark criminal past behind. Director Jacques Audiard saw the film as a unique blend of gritty drama like Amores Perros and an opera. He approached cinematographer Paul Guilhaume, AFC to collaborate on his vision. With a combination of operatic grandeur, gritty realism, and dynamic camerawork, Paul Guilhaume has been nominated for an Academy Award for his visually stunning cinematography in Emilia Pérez. Paul was impressed with the story arc when he received the script for the movie. “There is something a bit like a classic drama or a very classic structure of a play,” he explains. “The actions of the past come back, and the darkness comes back in the film at the end.” This dramatic structure, combined with the operatic elements, presented a unique challenge. Audiard initially conceived Emilia Pérez as a five-act musical stage play before deciding to film it. The theatrical influence is apparent in the film's structure and visual approach. The drama unfolds during the musical numbers, revealing information about the story. All of the musical numbers were written into the script and became a thread interwoven throughout the film. Paul used a variety of styles to shoot each music scene. He chose classic shot-reverse-shot for intimate moments, to stylized, modern music video techniques and grand, classic musical visuals for moments of heightened movement and energy. Months of preparation and rehearsal allowed the actors to meticulously block and choreograph the dance scenes in tandem with the Steadicam, resulting in seamless integration of movement and camera. In Emilia Pérez, the camera is always in motion, matching the pacing of the music. “Jacques has an aesthetic of movement, the camera is almost never still,” says Paul. “There's something in motion in each and every frame that's not photographic composition, but cinematographic composition. Your eye is always in motion, taking you from one shot to the next.” The film's visual tone shifts as Emilia's past catches up with her. Paul responded to the shift with higher contrast, theatrical lighting, bringing up the darks with black walls and using an infrared camera. Despite the film's ambitious scope, it began as a small, independent production with a limited budget before being picked up by Netflix. This constraint led to the decision to shoot digitally with a Sony Venice, a choice that ultimately saved time and money. Paul and Audiard focused on crafting memorable moments, striving to create one key image per scene to build a lasting "visual memory" for the audience. Emilia Pérez is on Netflix. Find Paul Guilhaume: Instagram: @paul_guilhaume Sponsored by Hot Rod Cameras: https://hotrodcameras.com/ Sponsored by ARRI: https://www.arri.com/en The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

Está con nosotros Ramón Valero, más conocido como Un Técnico Preocupado. Bienvenido a Entrevistas desde Eleusis. El motivo de esta entrevista es la publicación de tus dos libros: Ojos bien abiertos: Análisis de Eyes Wide Shut y Blasco Ibáñez Desvelado. Stanley Kubrick, un cineasta de culto con solo 13 películas, vivió entre 1928 y 1999. Por su parte, Vicente Blasco Ibáñez, escritor español de fama internacional, vivió entre 1867 y 1928. ¿Por qué elegiste analizar Eyes Wide Shut en lugar de otra película de Kubrick? 001 La verdad es que había visto esa película hace ya mucho tiempo, quizás incluso antes de mi despertar, probablemente en 2003 o por ahí. En aquel entonces, me pareció tediosa, difícil de entender. La percibí extremadamente lenta, confusa y enrevesada. Creo que me sucedió lo mismo que les pasa al 99% de las personas que se enfrentan a ese film sin conocer el contexto: no entienden que fue la decimotercera y última película del director, estrenada de manera póstuma, y que él mismo la consideraba su obra cumbre. Sin embargo, esta valoración no fue compartida ni por la crítica ni por el público. De hecho, si la película no terminó siendo un rotundo fracaso económico, se debió en gran parte a la participación de la entonces pareja de moda, Cruise-Kidman. Una gran cantidad de espectadores se sintió atraída únicamente por las escenas sugerentes protagonizadas por la actriz australiana y otras bellísimas mujeres que aparecen en el film. Menciono esto para poner en perspectiva lo especial que resulta haber elegido analizar esta película, sobre todo si consideramos que formó parte de la cuarta entrega de los análisis de cine que realizamos en nuestro grupo, al que llamamos Es Clave, en homenaje al icónico programa La Clave. Cuando decidimos estudiarla, ya había despertado cierto interés en círculos de conspiración debido al ritual central que aparece en la trama. Además, habíamos leído algunos artículos que iban más allá de la típica crítica cinematográfica, sugiriendo que la película escondía un significado mucho más profundo tras su aparente superficie. Así que nos propusimos el reto de analizarla desde nuestro enfoque como buscadores de la Verdad. Nuestro método de trabajo siempre sigue una estructura. Primero, cada uno ve la película de forma individual, anotando los detalles que considera interesantes o que podrían pasar desapercibidos. Luego, organizamos una proyección conjunta, en la que pausamos la película en puntos clave para comentar y debatir nuestras observaciones, intentando esclarecer juntos los posibles mensajes ocultos o simbólicos. En este caso particular, además, vimos previamente los dos magníficos vídeos de Pedro Bustamante sobre este film, lo que nos aportó una perspectiva muy enriquecedora. Por lo general, antes de elegir una película para analizar, suelo proponer cinco títulos, que luego sometemos a votación para determinar cuál será el seleccionado. Algunas de las películas que hemos considerado en el pasado incluyen: Benji contra el crimen, Cube 2, 12 monos, Ghost in the Shell, American Ultra, Lucy, Prisoners, Ellos viven (They Live), Gattaca, Blade Runner o El destino de Júpiter. Sin embargo, en el caso de esta obra de Kubrick, no hicimos ninguna votación. Ya sabíamos de antemano que era una película que encerraba mucho más de lo que parecía a simple vista, lo que la convertía en una elección incuestionable. ¿Qué despertó tu interés por Vicente Blasco Ibáñez: su afiliación a la masonería, su conocimiento de La Araña (la Compañía de Jesús), o algún otro aspecto de su vida y obra? 002 No me consideraba, ni mucho menos, un admirador ferviente del escritor valenciano, pero tampoco un detractor. Sabía que había sido masón, aunque nunca había profundizado en su obra o en su figura más allá de las generalidades conocidas. Fue otro buscador de la verdad, Toni Marco, quien se propuso desentrañar todo lo que había tras esta figura clave, cuya trayectoria abarcó los siglos XIX y XX y dejó una huella profunda en la historia. Toni había crecido familiarizado con Blasco Ibáñez, ya que poseía en casa una edición completa de sus obras desde pequeño. Durante casi dos años, estuvo recopilando información sobre el autor con el objetivo de desarrollar un episodio para un podcast que aún no ha visto la luz, titulado El hilo de Ariadna. Su intención era plasmar la vida y obra de Blasco, pero, poco a poco, lo que empezó siendo un hilo de investigación se convirtió en un ovillo enredado y, finalmente, en un auténtico laberinto donde la coherencia parecía inalcanzable. Un día, Toni me envió un gigantesco archivo PDF que contenía cientos de enlaces. Cada uno conducía a otros documentos: artículos, entrevistas, fragmentos de sus libros, notas, análisis, y una interminable colección de referencias. Era una maraña inmensa, intrincada hasta el punto de que resultaba casi imposible encontrar un camino claro para comprender algo en conjunto. Me tomó más de dos semanas montar un enorme rompecabezas en mi mente, organizando cada pieza hasta tener un esquema funcional. Solo entonces pude iniciar el arduo trabajo de lectura e investigación en profundidad. Me sumergí en decenas de textos, libros descatalogados encontrados en viejas bibliotecas, algunos de ellos censurados y prácticamente inhallables, como Tartarin revolucionario. También revisé tesis doctorales, vídeos de archivo, y, sobre todo, periódicos de la época. Mientras avanzaba en esta labor, trazaba mentalmente una imaginaria línea roja, como el hilo que Ariadna tendió para no perderse en el laberinto del Minotauro. Fue en ese proceso donde descubrí que, sorprendentemente, nadie había unificado todos estos datos ni los había presentado al público de forma completa y crítica. El enfoque habitual hacia Blasco Ibáñez seguía siendo el de una veneración superficial, anclada en lugares comunes y alabanzas, pero sin una mirada más profunda que conectara todos los aspectos de su vida y obra. Lo que finalmente revelamos superaba con creces las opiniones de sus contemporáneos, incluidos los escritores de la Generación del 98, de la cual fue apartado. También iba más allá de las críticas feroces de detractores como el periodista que firmaba bajo el seudónimo de El Caballero Audaz. Y, por supuesto, trascendía las supuestas disputas con la Iglesia, que en realidad se reveló como una de las patas de la estructura que lo impulsó a las altas esferas de la literatura mundial. A medida que avanzábamos, entendimos cómo funcionaba esa compleja maquinaria hierogámica y sacrificial a la que se refiere Pedro Bustamante. Blasco Ibáñez, lejos de ser una figura independiente o aislada, era una pieza clave, una rueda más dentro de un engranaje mayor que operaba en las sombras. En Eyes Wide Shut, Kubrick presenta una crítica a las élites y sus dinámicas de poder. ¿Encuentras paralelismos entre esta visión y la forma en que Blasco Ibáñez retrata las estructuras de poder de su época? 003 El genio neoyorquino, Stanley Kubrick, logró algo único en su filmografía: mostrar sin mostrar, desvelar un mundo oculto pero solo para aquellos que supieran mirar más allá de las apariencias. En su obra póstuma, Eyes Wide Shut, construyó un complejo entramado simbólico donde nada es lo que parece. Por contraste, Blasco Ibáñez, aunque reconocido en su tiempo como un escritor y político audaz, se limitó a servir a los poderes fácticos, adoptando una postura supuestamente de izquierdas que, al ser analizada con detenimiento, revela contradicciones flagrantes. Digo “supuestamente” porque, al examinar su vida y su obra, queda claro que decía una cosa mientras hacía exactamente la contraria. Esto fue algo que Luis García Berlanga dejó en evidencia de forma magistral en su miniserie de dos capítulos sobre Blasco, donde la hipocresía del escritor valenciano se expone sin ambages. Hay momentos reveladores, como cuando pasa de viajar en tercera clase a primera para evitar incomodidades en el tren que lo lleva a un pequeño pueblo, donde apenas dedica unos minutos a dar un discurso apresurado. Otro ejemplo es su actitud despectiva hacia los pobres en una escena que representa un duelo con el teniente Alestuey, o su cómoda relación con las élites, como su presencia junto al rey Alfonso XIII en casa de Sorolla. Quizás el caso más emblemático sea la visita de Jaime de Borbón, aspirante al trono, a su residencia en Mentón, lo que demuestra cómo un supuesto republicano no tenía reparos en confraternizar con monarquías y nobles, siempre que estuvieran fuera de la vista del pueblo llano. En cada uno de estos episodios, queda patente la distancia entre el Blasco Ibáñez público, crítico con las instituciones tradicionales, y el privado, que buscaba activamente entrar en los círculos que tanto criticaba. Así como Kubrick cuidaba cada detalle en Eyes Wide Shut, asegurándose de que no hubiera nada al azar en el metraje, nosotros encontramos un patrón similar en la vida de Blasco. Cada gesto y decisión parece calculado para proyectar una imagen pública que ocultara su verdadera naturaleza. Esto fue algo que exploramos a fondo en la serie de diez capítulos que realizamos para nuestro proyecto Es Clave, convirtiéndose en el sexto análisis de nuestro grupo. El paralelismo entre Kubrick y Blasco es inevitable en este sentido: mientras uno construyó una obra deliberadamente críptica para quienes quisieran descifrarla, el otro construyó una vida donde las contradicciones eran tan visibles que, a pesar de su aparente claridad, invitaban a un análisis mucho más profundo. Blasco, como dije, solo aparentaba estar enfrentado con la derecha, con los reyes o con las instituciones tradicionales. En realidad, su carrera estuvo marcada por la búsqueda de aceptación en esos mismos círculos que decía despreciar. Criticaba de cara al público mientras, en privado, se aseguraba de beneficiarse de las relaciones y los privilegios que estas conexiones le proporcionaban. Es por eso que decidí titular mi libro Blasco Ibáñez desvelado. Mi intención fue clara: retirar el velo de mentiras y medias verdades que han envuelto su figura durante décadas, elevándolo casi a la categoría de un semidiós intocable. Al desentrañar su verdadero rostro, mostramos no solo sus logros, sino también sus sombras y sus contradicciones, ofreciendo una visión más completa, menos idealizada y mucho más real. Tanto Kubrick como Blasco Ibáñez parecen emplear una narrativa dual: una narrativa superficial y profana, y otra más oculta, cargada de simbolismo, que revela una realidad subyacente. ¿Puedes compartir ejemplos de cómo cada autor expone y revela este "mundo oculto" para quienes tienen los ojos bien abiertos? 004 La película se titula Eyes Wide Shut, que en español significa Ojos bien cerrados. Inspirándome en ello, decidí nombrar mi libro Ojos bien abiertos, con la intención de que su lectura sirva para abrir los ojos de los lectores y permitirles descubrir todo lo que la película revela a quienes tengan la capacidad y la voluntad de verlo. Este ejercicio de análisis nos lleva a explorar un film que, a pesar de ser una obra maestra, ha pasado desapercibido para el gran público. Se trata de un testamento cinematográfico que desvela cómo una élite psicopatocrática controla el mundo desde las sombras. Para la mayoría de las personas, esta última obra de Stanley Kubrick no es más que una crítica superficial y anodina hacia los poderes ocultos, salpicada por algunas escenas que muestran a un grupo selecto de esta élite participando en rituales sexuales. En el mundo del cine, a menudo se la categoriza como un thriller erótico o un drama romántico. Nada más lejos de la realidad. Nuestro análisis va mucho más allá de lo que simplemente se ve en pantalla. Nos adentramos en las capas más profundas del metraje, desentrañando los significados ocultos y las complejas simbologías que el director dejó deliberadamente para ser descubiertas solo por quienes se atrevieran a buscar. Como explica Michel Ciment en su magnífico libro Kubrick: Edición definitiva: “El título mismo es una clave para entrar en este universo en trampantojo; suena familiar pero es una trampa: nunca los ojos se han calificado «grandes cerrados». Lo mismo que el primer plano de la película que ofrece brevemente a la mirada la desnudez de una mujer es seguido inmediatamente por un fundido en negro que nos la arrebata apenas entrevista, preludiando las frustraciones venideras. El fundido (con los habituales travellings hacia atrás) es una de las grandes figuras de estilo recurrentes en Eyes Wide Shut, expresando acertadamente ese balanceo, esencial de la película: ebriedad, pérdida de conciencia, desvanecimiento, sueños. Y la Steadicam de Kubrick encuentra en la fiesta de Ziegler las volutas de la cámara de un Ophuls, tan admirado por Kubrick en su juventud y él también aficionado a Schnitzler (Liebelei, La ronda) y a Zweig (Carta de una desconocida). Pero la embriaguez de la pareja que baila, Alice y su seductor húngaro, es el preludio de vértigos mucho más peligrosos.” Existen decenas de libros que analizan esta película, como el de Ciment, pero ninguno de ellos profundiza en aspectos menos evidentes, como las referencias al ciclo metónico que Kubrick incorpora de manera magistral. Por ejemplo, en el minuto 2:08:03 de la película, Mandy, en la sala de autopsias, se encuentra en la cámara frigorífica número 19. Los números, como es característico en las obras de Kubrick, jamás están al azar. Este detalle nos remite al simbolismo del número 19 en astronomía, conocido como número áureo, que marca un año dentro del ciclo metónico, un período de 19 años que sincroniza los ciclos lunares y solares con un margen de error mínimo. Este descubrimiento, atribuido a Metón de Atenas en el año 432 a.C., fue celebrado por los atenienses como un avance revolucionario y quedó inmortalizado en letras doradas en el templo de Minerva. En la película, este número adquiere una dimensión arquetípica, evocando la escena de los cuentos clásicos en la que el beso despierta a la princesa, rompiendo maldiciones y simbolizando el amor verdadero. Aquí, el número 19 no solo alude al ciclo astronómico, sino que también sugiere una conexión con la trascendencia y la transformación. Por otro lado, si miramos a Blasco Ibáñez, encontramos paralelismos inquietantes con los temas abordados en Eyes Wide Shut. En su vida y en los detalles que rodearon su muerte, hay símbolos que sugieren que comprendía perfectamente el mundo oculto que las élites mantienen alejado de las masas. El 29 de octubre de 1933, con la II República española consolidada, Blasco fue recibido en el puerto de Valencia por 300.000 personas, incluyendo figuras de alto rango como Niceto Alcalá-Zamora y Francesc Macià. Su entierro, más propio de un jefe de Estado, incluyó un sarcófago diseñado por Mariano Benlliure con simbología masónica, como una pirámide truncada, el disco solar y una esfera terrestre flanqueada por cabezas de águila. La cara posterior del sarcófago, “la cara buena” de la pirámide truncada Illuminati donde reside esta simbología más esotérica, es curiosamente la menos difundida. Apenas existen fotografías de alta resolución de este lado del cenotafio, lo que alimenta las especulaciones sobre qué se intenta ocultar. ¿Por qué esa opacidad? ¿Qué mensajes ocultos quiso dejar su círculo cercano? La cara de Medusa, una égida de Atenea metálica para proteger al espíritu iluminándolo, con el disco solar acompañado de los cuernos de la fortuna. Fijaos que la bola del mundo que está entre las garras de las dos águilas o del águila de dos cabezas parece un huevo. El huevo alquímico de la masonería, ese germen que tratan de transformar con dos fuerzas, izquierda y derecha, blanco y negro, azul y rojo para lograr la síntesis. La culminación de su obra, vaya. El diseño del mausoleo, obra del arquitecto Javier Goerlich nieto de un marques, incluye elementos alquímicos como un "huevo" que parece estar entre las garras de las águilas, aludiendo al huevo filosófico de la masonería, símbolo de transformación y síntesis. Este cenotafio, que ha cambiado de ubicación en múltiples ocasiones, parece ser un símbolo en sí mismo de una verdad que las élites prefieren mantener en las sombras. En dicho mausoleo se iban a utilizar unos pebeteros que terminaron en una capilla y uno de los cuales fue sufragado por una institución, la Diputación provincial, que fue creada por la dictadura de Primo de Rivera, el supuesto enemigo de Blasco y la República. En definitiva, tanto en el cine de Kubrick como en la vida de Blasco Ibáñez encontramos capas de significados que esperan ser descifradas. Mi libro, Ojos bien abiertos, busca precisamente eso: iluminar lo que se oculta a plena vista y mostrar que, tanto en el arte como en la historia, todo está interconectado. Ambos autores muestran la existencia de estructuras de poder: Kubrick identifica a las élites como la aristocracia del dinero, la nobleza de sangre y la clase media alta; mientras que Blasco Ibáñez se centra en los estamentos tradicionales de la aristocracia, la Iglesia y el Estado, con una burguesía emergente intentando integrarse en las élites. ¿Crees que estas élites son las que realmente controlan el sistema, o es algo aún más complejo? 005 La verdad es que a ciencia cierta nadie puede saber lo que es ese poder oculto sin tener que respetar el secretismo que les ha garantizado la supervivencia a lo largo de muchos milenios. Esto significa que si conoces realmente los mecanismos que utiliza el poder-religión para mantenerse ahi nunca hablaras abiertamente de ello. En ojos bien abiertos hablo sobre los mecanismos de control mental mediante trauma que emplean esta elite psicopatocratica para programar a los miembros de dicha elite. Los mas viejos programan a los mas jóvenes y los mas jóvenes terminan programando a los hijos de de otros que son como ellos en un ciclo sin fin. Esto va mucho mas alla de lo que se conoce por programación MK ultra, o control mental ultra. Aqui hablamos de vínculos sagrados mediante pactos de sangre donde unas familias se intercambian hijos con otras familias para no tener que programar a sus propios hijos mediante las técnicas mas crueles que podamos imaginar. Algo de esto nos mostró Kubrick en la naranja mecánica donde un padre monstruo engendra a un demonio hijo. Kubrick nos está hablando del abuso intergeneracional que practican estas elites de psicopatas que no tienen otra religión mas que la búsqueda del poder. Pedro Bustamante en su articulo "La naranja mecánica: el "eterno retorno" del Falo (1)” nos decía: “Álex-Edipo, hijo encubierto del Illuminati Mr. Alexander, dos encarnaciones de un mismo "eterno retorno" de la herramienta por excelencia del poder-religión: el Falo pederástico- felado-sodomizador-violador. "La naranja mecánica" (1971) de Stanley Kubrick no es una obra fácil. Se puede leer, como todas las grandes obras, a varios niveles. Pero niveles que están relacionados unos con otros. No solo es que haya varios planos narrativos, con uno más literal y otros más metafóricos que podamos leer entre líneas. Lo que hace el genio estadounidense es contarnos, precisamente a través de las vinculaciones entre estos distintos planos, cómo funciona la realidad, cómo funciona el poder-religión.” … “La leche-semen que la pandilla de jóvenes violentos beben, pero también los burgueses con los que se cruzan en el bar, funciona por lo tanto como una droga. Por eso nos dicen que es "leche-plus" o leche con "velloceta". Se refieren a la "belladona" utilizada por las brujas en sus rituales desde la antigüedad, en los rituales dionisíacos o para narcotizar a los soldados griegos. Como el Captagon que hoy las agencias de inteligencia occidentales proporcionan a sus ejércitos de yihadistas, con los que dicen combatir los políticos y los medios mentirosos e inmorales que hoy padecemos. La mecánica es la misma para la clase burguesa o profesional, con sus trajes y sus pajaritas, y para las pandillas callejeras, que no en vano llevan gorros burgueses. Los matones no están más que iniciándose en el sadismo que estructura toda la sociedad capitalista, que irán haciendo más sofisticado a medida que asciendan en la escala de poder.” En la serie de Berlanga sobre la vida de Vicente Blasco se hace una alusión velada al “comercio de mercancía sagrada o intercambio de niños de unos linajes a otros” con la adopción del primo de Blasco. Allí vemos como una carreta esta entrando a Valencia: “Venga Matías, coge a la boñiga. Detrás de esas torres está Valencia aquí nací yo. En aquellos tiempos para mucha gente, para la gente del campo, sobre todo era la ciudad de las promesas. Un lugar en el que cualquiera podía comerciar con lo que tuviera, azadones, patatas, estiércol incluso hijos. Lo curioso era que mientras unos querían entrar a toda costa, para otros respirar se nos hacía cada día más difícil y solo soñábamos con irnos.” Hacen alusión al cuento el Femater, el basurero, de la colección cuentos valencianos. ¿Podría ser que el director se refiriese al propio Blasco ya que poco o nada se sabe de ese supuesto primo adoptado? ¿Podría ser que el propio Blasco hubiera sido intercambiado por otra familia de la elite psicopatocratica para ser traumatizado y programado desde pequeño? Desde luego lo que nos debe quedar claro tras leer “Blasco Ibáñez desvelado” es que la función del escritor valenciano ya estaba designada desde muy niño y que, sabedor o no de ello, el valenciano será una pieza fundamental en la historia global. ¿Definen Kubrick y Blasco Ibáñez a las élites como grupos de poder interesados en el ocultismo, el esoterismo y la espiritualidad, o más bien como entidades centradas únicamente en los poderes materialistas y financieros? 006 Tanto Stanley Kubrick como Vicente Blasco Ibáñez, aunque separados por contextos históricos y temáticas aparentemente distintas, comparten una misma interpretación, una visión de las élites como entidades profundamente interesadas en prácticas ocultistas, rituales esotéricos y un entendimiento del poder que trasciende lo meramente materialista. Sus obras, reinterpretadas bajo esta óptica, dejan entrever la fascinación y el temor hacia un control invisible ejercido a través de fuerzas intangibles pero profundamente influyentes. En esta línea, las élites no solo estarían obsesionadas con acumular riquezas y controlar recursos, sino que también creen en su capacidad para moldear la realidad misma mediante rituales ancestrales y hierogamias sacrificiales, una práctica que, desde tiempos remotos, fusiona los conceptos de sexualidad y sacralidad en una búsqueda de poder espiritual. Kubrick, en su película Eyes Wide Shut, alude a círculos de poder cerrados que participan en ceremonias misteriosas, sugiriendo que estas prácticas no solo simbolizan su influencia, sino que son herramientas reales para afianzar su dominio. Por otro lado, Blasco Ibáñez, aunque menos explícito en lo esotérico, retrata en su obra un universo en el que las élites parecen operar bajo la influencia de fuerzas más grandes que la propia economía o la política. La elección del chalet de la Malvarrosa, en Valencia, como un símbolo del contacto entre el poder terrenal y lo trascendental, adquiere un peso especial en este relato. De forma extraordinaria, si uno traza una línea entre este punto y el obelisco de la Plaza de San Pedro en el Vaticano, se encuentra con una distancia exacta de 600 millas náuticas. Este dato, lejos de ser casual, reflejaría un diseño premeditado que conecta ambas localizaciones con un propósito energético y ritual. Las élites, según esta perspectiva, habrían diseñado el mundo físico para reflejar sus conocimientos ocultos. Esta distancia, tan precisa, no sería un accidente, sino una evidencia de que el chalet y el Vaticano ocupan posiciones estratégicas dentro de una red geomántica que canaliza energías terrestres y cósmicas. A través de estas alineaciones, los rituales adquieren un poder multiplicador, afectando la psique colectiva y reafirmando el control sobre las masas. Esta obsesión por el control no se limita al dominio físico de los territorios, sino que se extiende a la manipulación de las mentes y almas humanas. Según estas creencias, los rituales ancestrales no solo honran a deidades arcanas, sino que también funcionan como un medio para programar la realidad compartida. Creen que, al activar estos puntos energéticos mediante ceremonias específicas, pueden influir en el curso de la historia y el destino de los pueblos, consolidando su hegemonía. Desde este punto de vista, Kubrick y Blasco Ibáñez no serían meros artistas, sino crípticos cronistas que dejaron pistas sobre los mecanismos invisibles del poder. El lenguaje simbólico, las distancias exactas y las narrativas de exclusión esotérica que aparecen en sus obras nos ofrecen un mapa alternativo del mundo, uno donde lo oculto y lo manifiesto se entrelazan para dar forma a una realidad que sigue escapando al entendimiento común. ¿Cómo se pueden conseguir tus libros? 007 Por desgracia mis libros de momento solo se pueden conseguir a través de Amazon ya que todavía no he logrado llegar a ningún acuerdo con ninguna librería. Tengo un articulo en mi blog que se titula “AYUDA A TRAVÉS DE LA COMPRA DE MIS LIBROS” donde explico los libros que tengo y en los formatos que se pueden comprar. De todas formas si introduces mi nombre en Amazon, Ramón Valero, te van a mostrar la pagina de autor donde se referencia mis tres libros. Escribí uno hace mucho tiempo que se llama “Cinco Familiares elementos” pero que he publicado tras escribir mi primer libro como tal que es el que habla sobre Blasco. Este anterior es una recopilación de cinco relatos cortos donde utilizando las vivencias de algunos miembros de mi propia familia explico lo que son los cinco elementos fundamentales que describían los filósofos griegos. Cada relato es muy diferente y trata temas del despertar de consciencia. Son como micro cuentos donde el hilo en común es que hablo de vivencias personales. Este libro contiene también algunos artículos miss muy antiguos y un indice detallado con mis mejores hilos de Twitter. Se podría decir que es un libro de consulta. Hay una versión digital y también en papel en tapa blanda y dura. Realmente mi primer libro como tal es “Blasco Ibáñez desvelado” y se trata de una obra muy seria, muy referenciada, casi una obra académica lo que la hace quizás poco accesible para el gran publico. Pero en ella se explica como funciona el mecanismo hierogamico sacrificial del que hablaba Pedro Bustamante con ideas casi pictóricas. Estoy muy orgulloso de esa obra, que creo que envejecerá muy bien. Darle las gracias a Marta, la editora que me dio el empujoncito para escribirlo. Tras este libro ya me atreví a publicar el de relatos cortos e inmediatamente me metí de lleno a escribir el tercero “Ojos bien abiertos” donde en mas de 800 paginas descubro lo que Kubrick nos contaba en esa película e incluso lo amplio dando detalles sobre las técnicas y rituales que emplea la elite de psicopatas que dirige todo. Esta obra esta editada en digital, tapa blanda de mas de 800 paginas o en dos volúmenes de lujo en tapa dura de unas 500. Realmente esta escrito para poder leer de subcapitulo en subcapitulo sin hacer que el publico pierda el interés en ningún momento. Al igual que el de Blasco, la traca final os dejará con ganas de más. Como digo, o bien a través del articulo en mi blog, o introduciendo mi nombre o el titulo de las obras en Amazon, esta plataforma les proporcionara los enlaces para poder comprarlos. Espero también organizar una charla de presentación de las obras en Valencia lo más pronto posible y lo publicitare a través de mi blog y de Twitter. Muchísimas gracias Alex por preocuparte por entrevistar a este paria que tan solo aspira a ser humano cada dia. Un fuerte abrazo a todos los oyentes y otro para todas las personas que hayan escuchado de mi por primera vez. ………………………………………………………………………………………. Conductor del programa Carl Jung El Mundo Oculto @CarlJungPsico Canal Youtube https://www.youtube.com/channel/UC_YHaTZKdMN5wqAx8USmtGg …. Invitado UTP Ramón Valero @tecn_preocupado Un técnico Preocupado un FP2 IVOOX UTP http://cutt.ly/dzhhGrf BLOG http://cutt.ly/dzhh2LX Ayúdame desde mi Crowfunding aquí https://cutt.ly/W0DsPVq ………………………………………………………………………………………. Enlaces citados en el podcast: AYUDA A TRAVÉS DE LA COMPRA DE MIS LIBROS https://tecnicopreocupado.com/2024/11/16/ayuda-a-traves-de-la-compra-de-mis-libros/ Las Elites secretas de Stanley Kubrick y Vicente Blasco Ibáñez | Psicología y Ocultismo https://youtu.be/ra8k2KbTVOo?feature=shared ………………………………………………………………………………………. Música utilizada en este podcast: Tema inicial Heros ………………………………………………………………………………………. Epílogo Ricky Hombre Libre - Illuminati https://www.youtube.com/watch?v=EiqSljQlJq8 Anonymous - Illuminati Song https://www.youtube.com/watch?v=6uzq-bLJquY

Join us as we talk to the guy who quite literally wrote the book on Steadicam operating and discuss his career as an operator, teaching over 200 Steadicam courses, As Good As It Gets, The Apostle, and so much more. Jerry's IMDB Jerry's Website  To see pictures and things we discussed in todays episode check out the podcast page of The Op. Please check us out on the web and instagram and like us and review us if you enjoyed the episode. Theme Music - Tatyana Richaud Theme Mix - Charles Papert  

Ian Failes from befores & afters talks to 'Gladiator' visual effects supervisor John Nelson about the original film from 2000, including that very famous Steadicam shot of the Gladiators entering the Colosseum, the Rome builds, the amazing tiger fight, and the forest battle in Germania.

In this episode, we welcome cinematographer Steven Poster, ASC. Steven has shot films including Donnie Darko, Strange Brew, Someone to Watch Over Me, Opportunity Knocks, Big Top Pee-Wee, Amityville: The Awakening, Rocky V, and work on Close Encounters of the Third Kind, Blade Runner, Starman, and Unbreakable. He has served as president of the ASC, led the ICG for many years, and launched the Emerging Cinematographer Awards. In our chat, we hear all about Steven's roots, his creative beginnings, and journey making countless films across many genres. In addition, he shares invaluable advice for filmmakers and creative professionals working today.“The Making Of” is presented by AJA:Uncover exciting new AJA tech for production and post workflows.From KONA IP25, AJA's new SMPTE ST 2110 I/O card, to OG-ColorBox, an openGear version of AJA's ColorBox color management and conversion device, AJA announced exciting developments at IBC 2024. Explore these tools, alongside new AJA Diskover Media Edition plug-ins and enhancements, a Virtual KONA technology preview, and more here.From our Friends at Videoguys…The Canon EOS C70 offers exceptional cinema capabilities in a compact package. Enjoy stunning images with a 4K Super 35mm DGO Sensor and all the built-in features you could ask for, including ND Filters, mini XLRs, direct touch rotatable LCD screen, Dual Pixel CMOS Autofocus, and excellent battery life. Making the EOS C70 even more powerful is compatibility with Canon's expanding line of high-performance RF Lenses.Learn more hereGarrett Brown In Episode #1 of DCS Series on The Language of Camera MovementGarrett Brown, the legendary inventor of the Steadicam, does a deep dive into camera movement and how it should be informed by the processes of human vision.  In this interview with James Mathers, Garrett also gives a little background on his invention, the Steadicam. This is the first episode in a Digital Cinema Show series exploring the Language of Camera Movement and Support and how these critical aspects help filmmakers communicate their stories.Watch it hereOWC Atlas Ultra CFexpress CardsExperience the unparalleled performance and reliability of Atlas Ultra CFexpress Type B 4.0 cards purpose-built for professional filmmakers and photographers to capture flawlessly and offload files quickly in the most demanding scenarios.Check them out hereTalking Cinematography with Documentarian Jennifer CoxJennifer Cox is a director of photography, documentarian and owner of Moto Films LLC based in New York. Cox procured one of the first sets of ZEISS Nano Prime lenses and used them on three diverse documentary projects. She tested the unique traits across a Beatles Fan Fest feature film shoot, a short form promotion for non-profit Free Arts NYC and as part of the 2024 Courage Awards from PEN America.Podcast Rewind:Oct 2024 - Ep. 51…“The Making Of” is published by Michael Valinsky.Promote your brand and products to over 100,000 film, TV, video and broadcast professionals reading this newsletter. Email us at mvalinsky@me.com Get full access to The Making Of at themakingof.substack.com/subscribe

In this episode of Challenge Accepted, Frank and Thomas tackle Stanley Kubrick's 1980 horror classic, The Shining. They delve into the film's complex filmmaking techniques, such as its use of Steadicam and impossible architecture, and explore the layered meanings behind Jack Nicholson's iconic performance as Jack Torrance. From the eerie vibes of the Overlook Hotel to the haunting final photograph, this episode breaks down the symbolism and psychological horror that makes The Shining a timeless masterpiece. Plus, hear personal stories about horror movie experiences, including Thomas' encounter with the real-life Stanley Hotel! Timestamps and Topics: 00:00 - Introduction: Welcome and overview of The Shining (1980) 00:28 - Horror Film Rankings: Where does The Shining stand in horror history? 01:29 - Visiting the Stanley Hotel: Thomas shares his personal experience 03:08 - Horror Movie Memories: Frank talks about growing up with horror movies 04:24 - Plot Breakdown: A quick summary of The Shining's storyline 06:13 - The Shining Powers: Discussing Danny's powers and their importance 07:18 - Wendy Torrance: The portrayal of Wendy and her role in the story 09:30 - Jack Torrance's Descent: Jack Nicholson's transformation into madness 13:30 - Kubrick's Filmmaking: Analysis of Kubrick's use of Steadicam and visual effects 20:17 - The Impossible Architecture: How the Overlook Hotel messes with your mind 27:00 - The Maze Sequence: Symbolism behind the hedge maze 30:53 - The Gold Room: The psychological meaning behind Jack's bar scenes 39:48 - The Final Photograph: Exploring theories around the haunting ending Key Takeaways: The Shining is more than just a horror movie; it's a psychological thriller with layers of hidden meanings. Stanley Kubrick's filmmaking techniques, such as Steadicam and impossible architecture, play a major role in unsettling the audience. Jack Nicholson's portrayal of Jack Torrance is both iconic and chilling, adding depth to the character's descent into madness. Wendy Torrance, while often criticized for being a flat character, plays a crucial role in demonstrating the horror from a “normal” person's perspective. The ending photograph continues to spark debate, with theories ranging from reincarnation to Jack being eternally trapped by the hotel. Memorable Quotes: “This is one of those films where the filmmaking ascends beyond the movie itself.” – Frank “Jack Nicholson's performance is just a masterclass in madness.” – Thomas “Kubrick's use of impossible architecture messes with your subconscious.” – Frank “The hotel is like a character itself, constantly shifting and playing with your mind.” – Thomas Call to Action: If you loved this breakdown of The Shining, don't forget to subscribe to Challenge Accepted on your favorite podcast platform! Leave us a review, share this episode on social media with the hashtag #ChallengeAcceptedPodcast, and let us know what you think about The Shining's cryptic ending! Links and Resources: Visit our website for all the latest news: GeekFreaksPodcast.com Follow Us: Instagram: instagram.com/challengeacceptedlive TikTok: tiktok.com/@challengeacceptedlive Twitter: twitter.com/CAPodcastLive Listener Questions: Got a question or a topic you'd like us to discuss in future episodes? Send us your thoughts, and you might hear it on the next show! Apple Podcast Tags: The Shining, Kubrick, Horror Movies, Jack Nicholson, Steadicam, Impossible Architecture, Classic Films, Film Analysis, Challenge Accepted Podcast, Geek Culture, Wendy Torrance, Danny Torrance, Overlook Hotel, Jack Torrance

The new movie Longlegs is a psychological horror film that follows FBI Agent Lee Harker as she investigates a series of mysterious murder-suicides. The victims, all families, leave behind cryptic messages signed "Longlegs." As Harker delves deeper into the case, she uncovers a dark connection to the occult and must confront a terrifying supernatural entity. For cinematographer Andrés Arochi, technical mastery is key, but it's always in service to the story. “It has to come from something inside you that says, 'I want to create this' and then you find a technical way to do it,” he says. “For me it's always trying to be true to that instinct and to whatever feels right, and when you do it, then you're talking about yourself so it's easy to see yourself reflected.” Longlegs is Andrés' first international feature. For the past 12 years, Andrés has been working as a DP in Mexico. With no formal training, he began taking photos of friends in the music scene at age 17. Soon, he began creating projection video displays for concerts and shooting music videos and commercials. This led to work on huge music video and film sets as an on-set photographer, where he met Mexican cinematographers Guillermo Garza (the cinematographer of The Thicket), Alexis Zabé and Galo Olivares. Standing next to these skilled DPs with his camera in hand allowed Andrés to learn alongside them, and he would watch and ask questions, often copying their settings on his camera to experiment. In his spare time, Andrés would go out and practice the new techniques he learned, shooting low-budget films and music videos for friends. Fellow Mexican cinematographer Galo Olivares shot director Osgood Perkins' Gretel and Hansel, and he introduced Andrés to Perkins when the director was looking for a DP for Longlegs. Andrés was drawn to the humor in the Longlegs script, and loved that some comedy existed, even within a horror film. Unlike a lot of cinematographers and directors, Andrés and Perkins didn't create a lookbook or speak in depth about filmic references, such as Silence of the Lambs and Se7en, which were influences for Longlegs. Instead, Andrés says, “When we did talk about movies, it was more movies that had nothing to do with the genre. We talked a lot about My Own Private Idaho, Drugstore Cowboy—a lot of Gus Van Sant 1990s indie America filmmaking. Elephant was an influence on the way we used Steadicam.” One artistic reference Andrés used was The Son of Man by artist René Magritte, a painting showing a man with his face hidden by an apple. Andrés loved the idea of keeping the face of Longlegs the killer hidden at first. Andrés chose to shoot on 35mm film and in a 4:3 aspect ratio for parts of Longlegs that take place in the 1970's. “Using film changes the emotion. Everyone stays focused and shooting on film makes it necessary for everyone to rehearse. So, I decided to shoot 35mm for everything in the 1970s and go with a 4:3 aspect ratio, then we did 2.39 and shot on digital with the Alexa Mini LF for the 1990s.” During the Longlegs shoot, director Osgood Perkins wanted the film crew to use their creativity. “Oz was always encouraging the whole team, like do what you feel, you understand the movie we're doing, just do the best version of you,” says Andrés. “So I was very, very inspired, and that created the space for us to create from our hearts using the best tools we had.” Find Andrés Arochi:http://www.andresarochi.com/selected Instagram: @andresarochi Sponsored by Hot Rod Cameras: https://hotrodcameras.com/ Sponsored by Aputure: https://www.aputure.com/ The Cinematography Podcast website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

Today, my guest is a prolific cinematographer, accomplished photographer, and member of the American Society of Cinematographers, Dean Cundey A.S.C.Dean rose to fame for extraordinary cinematography in the 1980s and 1990s. His early start was working on the set of Halloween.  Dean is credited as director of photography on five Back To The Future films and Jurassic Park.The Halloween slasher franchise consisted of eleven films and was initially released in 1978. The films primarily focus on Michael Myers, who was committed to a sanitarium as a child for the murder of his sister, Judith Myers. Fifteen years later, he escapes to stalk and kill the people of the fictional town of Haddonfield, Illinois. Michael's killings occur on the holiday of Halloween, on which all of the films primarily take place.The second film, one of which Cundey served as director of photography, was based on Marty McFly, who had only just gotten back from the past when he is once again picked up by Dr. Emmett Brown and sent through time to the future. Marty's job in the future is to pose as his son to prevent him from being thrown in prison. Unfortunately, things get worse when the future changes the present.The three Back To The Future films Dean worked on grossed $388.8, $336, and $243 million globally, becoming all-time hits on budgets of $19, $40, and $40 million.Cundey is cited as being amongst some of the best directors of photography. In addition to his lighting skills, particularly in the famous hallway scene where the hidden face of Michael Myers, played by writer/director Nick Castle, is slowly revealed by way of a blue light next to the mask, he was among the first cinematographers to make use of a recent invention called the Steadicam, or paraglide.Some other shows and movies he's worked on include, Who Framed Roger Rabbit, Tales of the Unexpected, Romancing the Stone, Invitation To Hell, Big Trouble in Little China, etc.Who Framed Roger Rabbit; A toon-hating detective is a cartoon rabbit's only hoping to prove his innocence when he is accused of murder. Basically, 'Toon star Roger is worried that his wife Jessica is playing pattycake with someone else, so the studio hires detective Eddie Valiant to snoop on her. But the stakes are quickly raised when Marvin Acme is found dead, and Roger is the prime suspect. Groundbreaking interaction between the live and animated characters, and lots of references to classic animation.Dean grew up an avid reader of the American Cinematographer magazines he would buy after school from a local camera shop close by. That was how his inspiration to pursue filmmaking came about. He shifted his focus to theater history while still taking some architectural design classes at California State University before he ultimately enrolled at the University of California Los Angeles film school.In 1993 Jurassic Park, Dean made a minor appearance as a boat crew member (Mate) while also staffed as director of photography. The film follows a pragmatic paleontologist visiting an almost complete theme park tasked with protecting a couple of kids after a power failure causes the park's cloned dinosaurs to run loose. Huge advancements in scientific technology have enabled a mogul to create an island full of living dinosaurs.A park employee attempts to steal dinosaur embryos, critical security systems are shut down, and it now becomes a race for survival with dinosaurs roaming freely over the island.Cundey holds over one hundred and fifty cinematography & photography credits for movies, television, and short films. That is no small feat in this business. The man has stayed busy and booked since graduation from film school. That kind of consistency in Hollywood is only doable by having extreme persistence and excellence. One of the many things he did to stay prepared and on top of his craft was investing into building himself a ‘super van' or one couple call it a cinematographer's heaven that contained every equipment (cameras, editing's tools, etc.) required to help him get work get and do work easily.We talk more about Dean joining The Book of Boba Fett and The Mandalorian crew as well. Check it all out in our chat.Enjoy my conversation with Dean Cundey.Become a supporter of this podcast: https://www.spreaker.com/podcast/bulletproof-screenwriting-podcast--2881148/support.

Supporter Susan from Geek Girl Soup (https://geekgirlsoup.com) has picked some corkers in the past, and this choice is no exception. It's the 1987 body horror comedy, Street Trash. Street Trash, directed by Jim Muro, was a low-budget endeavor that became known for its outrageous blend of horror, comedy, and social commentary. The film was originally conceived as a short student project by writer Roy Frumkes, but its success led to the development of a full-length feature. Muro, who was only 21 years old at the time, brought his unique vision to the project, heavily influenced by his background in Steadicam operation, which he utilized to create dynamic and fluid camera movements that became a signature of the film's visual style. Filmed primarily in Greenpoint, Brooklyn, and various locations around New York City, Street Trash captures a grimy, apocalyptic version of the city, which perfectly complements its story of melting derelicts and social decay. The film's practical effects are one of its standout features, delivering some of the most memorable and grotesque gore sequences of 1980s horror cinema. The story revolves around a batch of toxic liquor called "Tenafly Viper," which causes the homeless people who drink it to melt in vividly colorful and shocking ways. Despite its micro-budget, the production team managed to create elaborate melting effects using a combination of foam latex, prosthetics, and colorful slime. These effects, coupled with the film's darkly humorous tone, helped Street Trash gain a cult following. The film was controversial for its unflinching portrayal of societal outcasts and graphic content, but it has since been celebrated for its daring approach to blending genres and its influence on the splatter film subgenre. If you enjoy the show we have a Patreon, so become a supporter. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.patreon.com/thevhsstrikesback⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Plot Summary: In a rundown neighborhood in New York City, a liquor store owner discovers a case of "Tenafly Viper," a mysterious and expired alcoholic beverage. When consumed by the local homeless population, the drink causes their bodies to grotesquely melt, leading to a series of bizarre and horrific deaths. Amidst this gruesome madness, the film also explores the lives of various misfit characters, including two homeless brothers trying to survive on the streets, a deranged junkyard owner, and a corrupt cop, all of whom get caught up in the escalating violence and absurdity that surrounds the toxic brew. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠thevhsstrikesback@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/vhsstrikesback⁠ --- Support this podcast: https://podcasters.spotify.com/pod/show/thevhsstrikesback/support

This week the South African camera operator and steadicam operator, Ashlea Downes. Among Ashlea's credits are the popular Netflix series Bridgerton on which she is working with a previous guest on this podcast, Alicia Robbins. Ashlea has also worked on House of the Dragon, Wicked, Skyfall, Spider-Man: Far From Home and His Dark Materials. Ashlea was born in Pretoria, South African in 1985. Her father, Ant, was an accountant and business owner, and her mother, Alex, an artist and art teacher. Her brother, Scott, is a hand painted sign artist. Ashlea grew up enjoying sports and the outdoors; she was a competitive rider, taking after her mother who was a keen horsewoman. She also swam, played water polo and netball but academia was not her rap. Instead she followed her father's interest in photography and her mother's talent for art. Her love of wildlife gave her aspirations to be a wildlife documentary filmmaker so it was no surprise that these influences steered her to the AFDA Film School where she graduated with a degree in Cinematography. After college, her relentless determination and ambition to break into the industry opened up opportunities that would prove the foundation of her career, and soon she would find herself being called up for the Bond movie Skyfall filming in Turkey and then to the UK to film at the London Olympics. A turning point in her career was moving to the UK shortly after where she met her partner and found steady work from trainee to 2nd AC/ loader and then making her mark as a camera operator. Ashlea lives between Reading, England and Cape Town, South Africa with her husband Karl Taggart. She is currently working as a camera operator on Season 4 of Bridgerton. Ashlea on IMDB: https://www.imdb.com/name/nm4701569/Instagram: @ashlea_downes https://www.instagram.com/ashlea_downes Ashlea's favorite women in visual arts: Charlotte Bruus ChristensenMandy WalkerReed MoranoRachel MorrisonCatherine GoldschmidtAlicia RobbinsAlice BrookElana Garret Host: Chris StaffordProduced by Hollowell StudiosFollow @theaartpodcast on InstagramAART on FacebookEmail: hollowellstudios@gmail.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/wisp--4769409/support.

This week the South African camera operator and steadicam operator, Ashlea Downes. Among Ashlea's credits are the popular Netflix series Bridgerton on which she is working with a previous guest on this podcast, Alicia Robbins. Ashlea has also worked on House of the Dragon, Wicked, Skyfall, Spider-Man: Far From Home and His Dark Materials. Ashlea was born in Pretoria, South African in 1985. Her father, Ant, was an accountant and business owner, and her mother, Alex, an artist and art teacher. Her brother, Scott, is a hand painted sign artist. Ashlea grew up enjoying sports and the outdoors; she was a competitive rider, taking after her mother who was a keen horsewoman. She also swam, played water polo and netball but academia was not her rap. Instead she followed her father's interest in photography and her mother's talent for art. Her love of wildlife gave her aspirations to be a wildlife documentary filmmaker so it was no surprise that these influences steered her to the AFDA Film School where she graduated with a degree in Cinematography. After college, her relentless determination and ambition to break into the industry opened up opportunities that would prove the foundation of her career, and soon she would find herself being called up for the Bond movie Skyfall filming in Turkey and then to the UK to film at the London Olympics. A turning point in her career was moving to the UK shortly after where she met her partner and found steady work from trainee to 2nd AC/ loader and then making her mark as a camera operator. Ashlea lives between Reading, England and Cape Town, South Africa with her husband Karl Taggart. She is currently working as a camera operator on Season 4 of Bridgerton. Ashlea on IMDB: https://www.imdb.com/name/nm4701569/Instagram: @ashlea_downes https://www.instagram.com/ashlea_downes Ashlea's favorite women in visual arts: Charlotte Bruus ChristensenMandy WalkerReed MoranoRachel MorrisonCatherine GoldschmidtAlicia RobbinsAlice BrookElana Garret Host: Chris StaffordProduced by Hollowell StudiosFollow @theaartpodcast on InstagramAART on FacebookEmail: hollowellstudios@gmail.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/aart--5814675/support.

Sean Comer, Dorian Price, Mik Wanamaker and Mark Radulich review movies currently on streaming services and in theaters: Clockwork Orange/Lolita/Eyes Wide Shut Movie Review! First up is A Clockwork Orange (1971). Then we move on to Lolita (1962). Finally we review Eyes Wide Shut (1999).Stanley Kubrick (July 26, 1928 – March 7, 1999) was an American film director, screenwriter, producer, and photographer. Widely considered one of the greatest filmmakers of all time, his films were nearly all adaptations of novels or short stories, spanning a number of genres and gaining recognition for their intense attention to detail, innovative cinematography, extensive set design, and dark humor.A perfectionist who assumed direct control over most aspects of his filmmaking, Kubrick cultivated an expertise in writing, editing, color grading, promotion, and exhibition. He was famous for the painstaking care taken in researching his films and staging scenes, performed in close coordination with his actors, crew, and other collaborators. He frequently asked for several dozen retakes of the same shot in a movie, often confusing and frustrating his actors. Despite the notoriety this provoked, many of Kubrick's films broke new cinematic ground and are now considered landmarks. The scientific realism and innovative special effects in his science fiction epic 2001: A Space Odyssey (1968) was a first in cinema history, and the film earned him his only Academy Award (for Best Visual Effects). Filmmaker Steven Spielberg has referred to 2001 as his generation's "big bang" and it is regarded as one of the greatest films ever made.While many of Kubrick's films were controversial and initially received mixed reviews upon release—particularly the brutal A Clockwork Orange (1971), which Kubrick pulled from circulation in the UK following a media frenzy—most were nominated for Academy Awards, Golden Globes, or BAFTA Awards, and underwent critical re-evaluations. For the 18th-century period film Barry Lyndon (1975), Kubrick obtained lenses developed by Carl Zeiss for NASA to film scenes by candlelight. With the horror film The Shining (1980), he became one of the first directors to make use of a Steadicam for stabilized and fluid tracking shots, a technology vital to his Vietnam War film Full Metal Jacket (1987). A few days after hosting a screening for his family and the stars of his final film, the erotic drama Eyes Wide Shut (1999), he died from a heart attack at the age of 70.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59

Cornell philosopher David Shoemaker joins us for a long winding journey up to the Overlook Hotel, a DEEP dive on Stanley Kubrick's The Shining. We tackle all the big questions - is the hotel truly haunted? What if anything does it symbolize? Why are there two Gradys and two sets of daughters?  How does the filmmaking – and the Steadicam in particular - amplify our sense of dread?  Does Jack shine too? How does he get out of the storage closet? Is Shelly Duval's performance actually brilliant? What the fuck is up with Bill? Should the Overlook have included a land acknowledgment? And lots more. Come listen to us, forever and ever and ever…. David Shoemaker's website [sites.google.com] Wisecracks by David Shoemaker [amazon.com afilliate link] Review of Wisecracks by Kieran Setiya [atlantic.com] The Shining [wikipedia.org]

To celebrate the 50th anniversary of the creation of the Steadicam, Tiffen held a talk with Steadicam Inventor Garrett Brown to hear stories from throughout his career. Garrett is a master storyteller and has lived a life full of stories worth telling. A fantastic listen. To watch video of the discussion, click here. (Highly recommended if you'd like to see "The Look".) Please check us out on the web and instagram and like us and review us if you enjoyed the episode. Theme Music - Tatyana Richaud Theme Mix - Charles Papert  

In this episode, I interview Jarrett Morgan of Possum Solutions about his unique journey from Steadicam operator to running a business creating custom cinema camera accessories. Jarrett shares his evolution, offering insights into the intricacies of running a machining business while having another job. We also discuss the influence of streaming services on the film/media industry, humorous and instructive machine maintenance anecdotes, and Jarrett's quest for organization. Check out Jarrett's IG @possumsolutions ----------------------------------------- Help support the podcast www.patreon.com/withintolerancepodcast

The Cinemapodgrapher team travelled from Brisbane to Lisbon for Filmcare's Trinity 2, Steadicam & A Cam masterclass. We recap all the higlights of the camera operator workshop hosted by Geoff Haley SOC, Ari Robbins SOC, Curt Schaller & Fares Corbani SOC ACO. We also talk all things football, food, castles and one crazy Tuk Tuk ride down a mountain. 

Netflix's Baby Reindeer is a dark comedic thriller that chronicles the true story of a struggling comedian, Donny (Richard Gadd) as he's stalked by a seemingly harmless woman named Martha (Jessica Gunning). As her pursuit of him escalates and becomes progressively unhinged, the audience learns more about why Donny may be so passive about stopping her advances. Cinematographer Kryzsztof Trojnar reunited with his fellow Polish film school classmate, director Weronika Tofilska, on Baby Reindeer's first four episodes. The show's unique origin, a one-man stage play, proved a valuable resource for Kryzsztof. He immersed himself in the audio recording alongside the script, capturing the story's rhythm and intensity. “It was all about how we create that intensity, how we create the intrusion of Martha, how we show her overtures in that pub.” says Kryzsztof. “It all has to be really close and really intense that as an audience you feel that intrusion.” Both Kryzsztof and Tofilska were inspired by Coen brothers movies and Paul Thomas Anderson's Magnolia, admiring their treatment of character-driven narratives. Kryzsztof made sure to keep the perspective of the story firmly in Donny's first person point of view. Wide-angle lenses frequently frame him in the center, and the use of Steadicam shots keep up the frantic pace of Donny's increasing unease. Kryzsztof and Tofilska chose lighting and a color palette they jokingly called “decomposing body” for Baby Reindeer. It creates a stylized world with a LUT heavy on earth tones of yellow, brown, and green. Against those colors, naturally lit moments and other hues stand out with a jarring vibrancy. Kryzsztof also favored unflattering, hard lighting for Donny as he feels more haunted and hunted by Martha. Martha, on the other hand, is lit in a flattering way, as she admires and flirts with Donny, making him feel adored. Find Kryzsztof Trojnar: Instagram: @krzysztof_trojnar Sponsored by Hot Rod Cameras www.hotrodcameras.com The Cinematography Podcast website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

At 14 years old, Fares Corbani SOC ACO, was helping a neigbour with wedding videography in Beirut, Lebanon. This would then lead him on a journey to becoming a Trinity, Steadicam and Camera Operator shooting in the Middle East and Europe. Fares' love of workshops inspired him to found Film Care, the home of elite film workshops. We discuss buying his first steadicam, adopting the Trinity and his operator journey through Beirut, Dubai & Paris. We also talk about his upcoming Trinity, Steadicam & A Cam Masterclass. 

In this episode, we welcome cinematographer John Matysiak. John has shot acclaimed features such as Old Henry, Acid Man, and Big George Foreman, as well as series including “Winning Time: The Rise of the Lakers Dynasty” and “Still the King.” In our chat, we hear John's origins, path into filmmaking, and his experience working on a range of projects. We also learn about his approach to collaborating with different directors, and how he formulates the look for each production. The Making Of is presented by AJA Video Systems:Uplevel your pipeline with AJA's latest updatesFrom color management to IP video, data management, and beyond, media production pipelines are rapidly evolving. Stay ahead of the curve with AJA's latest technology updates for production and post professionals, including a new ColorBox release with ACES support and other great improvements, new Desktop software features, and more. Find out what's new here From our Friends at Videoguys…Atomos Shogun is a 7-inch monitor-recorder with integrated networking for cloud workflows, ideal for DSLR, mirrorless and cinematic cameras. More codecs & monitoring tools than ever before. Today's Shogun is bolstered by new abilities from AtomOS 11, massive connectivity from integrated networking, more codecs, and compatibility with almost every camera. Shogun is the Atomos dream writ large.Learn more here Tiffen Tech Day '24, Stabilizer Expo, & Steadicam's 50th with Garrett BrownBurbank | June 9th, 11am - 4pmTiffen welcomes filmmakers to Tech Day '24 featuring the Stabilizer Expo, live equipment demos, and Tech Talks with renowned Operators and Cinematographers.Stabilizer Expo | Tiffen Filters On Set | Steadicam Try & Fly | Tech Talks That Steadicam Shot and I How Got It: Charles Papert moderates Neal Bryant SOC, Andy Schwartz and more. Plus, How I Got that Filter Shot: Richard Crudo ASC moderates Cinematographers Dean Cundey ASC, Alicia Robbins, Shane Hurlbut ASCTall Steadicam Tales: A Conversation with Garrett Brown & Dave ChameidesFree RSVP hereMeet ZEISS At Cine Gear LA Cine Gear is right around the corner! Find ZEISS at Booth #105 where they will be showing the new Nano Prime lenses. More than that, you can check out a demo of the CinCraft Scenario camera tracking system in an outdoor environment.Register hereFeatured NYC Photo Exhibit:Edwin Pagán's Los Inocentes (The Innocents) is a documentary photoessay that focuses on the resiliency of children who live in urban communities in less-than-ideal circumstances, but who prevail and thrive beyond their environments in the South Bronx, Spanish Harlem (El Barrio), and the Lower East Side (Loisaida).The images compiled in this photographic showcase reveal the untainted splendor of children just being themselves in everyday situations. Individually, they present fleeting tableaux of precise personal incidents. Taken together, they provide a wider understanding of how universal youth resiliency really is. If from the mouth of babes comes the truth, then this metaphoric photo album speaks to the will and tenacity of human beings. More on this exhibit here Steven Poster, ASC Shares About His Latest Feature, "Scared To Death"In this episode of the Digital Cinema Show, DCS Founder James Mathers interviews renowned Director of Photography Steven Poster, ASC about the tools he used on his latest feature, "Scared To Death" — including Canon cinema cameras and lenses, and Tiffen filters. Watch the interview hereUpcoming Event:Cine Gear Expo | Burbank, CACine Gear Expo features exhibits, new product and service introductions, complimentary seminars led by industry leaders, masterclasses, a film competition, and awards ceremony. From June 7-9th, the LA Expo will be held at the historic Warner Bros Studios in Burbank, CA.A fitting backdrop for the Cine Gear industry trade show, visitors can enjoy outdoor booths on Warner Bros Midwest and French Streets, former home to The Music Man, Bonnie and Clyde, and “Gilmore Girls”. Simultaneously, The Friends and Young Sheldon Stages will house indoor booths filled with the latest tech from popular equipment vendors. Warner's full-service facility also offers state-of-the-art venues like the Steven J. Ross Theatre to accommodate Cine Gear's hallmark Film Competition, Screening Series, and Presentations.Register hereWomen in Media Announces 2024 WiM ICON Award HonoreeFor landmark achievement in public relations, communications and community building, WiM is honored to award Susan Lewis this year's highest distinction.Susan Lewis has tirelessly served the cinema and entertainment community for four decades — smoothing the launch and adoption of countless innovative technologies. Her clients have represented industry leaders including Cinema Products, Steadicam, Litepanels, Zeiss, Schneider, Matthews, Tiffen, SmallHD, Teradek, and dozens more.One of her unique roles is being a daily conduit between filmmakers and the companies whose products serve these creatives. Nancy Schreiber ASC shares, “Susan always has her pulse on what's brand new and about-to-be-newsworthy. She makes sure that we artists & technicians get our hands on this gear immediately.” She's an Associate Member of the American Society of Cinematographers and a long-time supporter of Cine Gear Expo. The show's co-founder and WiM's 2023 ICON Award recipient Juliane Grosso added, “Susan is an irreplaceable gem in the Cine Gear Expo family.” Read more here Podcast Rewind:May 2024 - Ep. 33…The Making Of is published by Michael Valinsky.To promote your products or services to over 21,000 filmmakers, TV and video pros reading this newsletter, please email us at mvalinsky@me.com Get full access to The Making Of at themakingof.substack.com/subscribe

Welcome to Trilith Institute Talks!   In this episode of Trilith Institute Talks, host Hunter Barcroft chats with Stunt Coordinator and Stunt Double for Dwayne 'The Rock' Johnson, Myles Humphus... Joined by film students Davis and Rosa, the discussion delves into the relationship between Directors and Stunt Coordinators, the intricacies of working with actors who perform their own stunts, and the unique fighting styles brought to life in action films... Myles shares his journey from working on football commercials to MMA fighting and ultimately to stunt coordination on major projects like NBC's 'The Equalizer.' The panel explores various aspects of stunt work, including preparation, safety, and the art of storytelling through physical action. The episode offers valuable insights for aspiring filmmakers looking to understand the nuanced roles and challenges of stunt performers in the film industry.     Episode Timestamps   00:00 - Introduction to Stunt Filmmaking 00:15 - Meet the Host and Guests 00:58 - Miles Humphess: Career Beginnings 01:48 - Challenges and Triumphs in Stunt Work 05:15 - The Reality of Background Performers 12:31 - Breaking into the Stunt Industry 17:05 - Training and Skills for Stunt Performers 20:28 - Directing and Choreographing Stunt Scenes 30:11 - Speculating on Extraction 3 30:34 - Director Involvement in Stunt Coordination 33:14 - Understanding Previs 34:22 - Advice for Aspiring Filmmakers 36:17 - The Importance of Collaboration 41:24 - Acting in Stunts 43:42 - Writing and Stunt Coordination 48:59 - Character-Specific Fight Styles 52:03 - Using Doubles Effectively 54:16 - Balancing Actor and Double Dynamics 58:49 - Conclusion and Credits       Film Industry Terminology In This Episode   PreViz - a filmed / virtual previsualuzation of a scene that references the action beats of the scene; often used as a way for Stunt departments to show the stunts in a particular scene to a director before they actually film the scene on set.    SAG - the Screen Actor's Guild is the organization that represents performers and media professionals who work in film, TV, radio, games and more.    Steadicam - a steadicam is a camera stabilizer mount for motion picture cameras. This makes the camera almost seem as if it's floating throughout a space.    Stunt double - a physical "double" of an actor, a Stunt Double is a stunt performer who is dressed to copy the look of a specific actor on a film set and perform their specific stunts.      About Trilith Institute Support The Next Generation of Storytellers Take A Professional Education Course Get Involved With Trilith Institute Contact Us Follow Us On Social Media! Trilith Institute Talks Instagram Trilith Institute Instagram Trilith Institute Facebook Trilith Institute LinkedIn

The critically acclaimed horror movie Late Night With the Devil blends found-footage, mockumentary and 1970s late-night television into a movie with genuine scares. Cinematographer Matthew Temple, ACS used shaky camerawork, close-ups, and multiple video sources to add to the feeling of watching “behind the scenes” documentary found footage. Though they didn't use vintage tube cameras for the 1970's TV look, Matt and the camera operators used studio pedestal bases or a crane for the cameras. “Right from the get-go, (directors Cameron and Colin Cairnes) came at me with this word, 'verisimilitude,' which means to make something feel real.” says Matt. “And that was kind of the seed for the television show.” During the preproduction period on Late Night with the Devil, the Cairnes brothers gave Matt a lookbook that they'd created referencing documentaries from the time. Matt had honed his craft on Australian TV shows like Comedy Inc., a sketch comedy show that spoofed movies and TV shows. He learned how to deconstruct a movie and replicate a specific look. Matt used the same approach for the film and watched several late night talk shows from the 1970's to get the visual aesthetic right. As he learned and took notes, Matt made an extensive document setting out rules for the camera crew to follow to keep the look authentic. Using the studio pedestal bases and cranes were key, with Sony Venice cameras in 4K mode with Fujinon zooms. “We had three pedestal cameras. They were new Venices, but nonetheless they were on pedestals. Each operator had to do their own focus and zoom and trucking up the pedestals in shot. I was careful to hire two camera operators who really knew what they were doing with studio cameras because the last time I did that was 35 years ago.” Matt himself acted as the third camera operator. He would brief the other camera operators in preproduction, break down the scene, and map out how all the cameras would work together. It was critical that the cameras always have a logic and placement and appear to be moving together. Growing up in Australia, Matt was impressed with the Australian movie Mad Max as a teenager. After studying some photography and stage production, he got a trainee job at ABC Television in Sydney. He slowly worked his way up as an assistant, operator, Steadicam operator and DP in Australian television. Late Night with the Devil is Matt's first feature film as a cinematographer. He previously worked with directors Cameron and Colin Cairnes as a Steadicam operator on their first feature, 100 Bloody Acres. Matt thinks Australia is its own independent film and TV powerhouse because of their ability to innovate and work with very small budgets. Find Matthew Temple: https://www.matthewtemple.com.au/ Instagram @dpwolfie Late Night with the Devil is still playing in some theaters and is available on Shudder and VOD. https://www.latenightwiththedevil.movie/ Sponsored by Hot Rod Cameras www.hotrodcameras.com Sponsored by ARRI: https://www.arri.com/en The Cinematography Podcast website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

American cinematographer Erin Haynes is making her way in an industry that she believes has a long way to go to increase diversity among its crews. Erin was born in New Orleans in 1999—one of two daughters to Denise and Joe Haynes. She grew up in the 7th Ward of a complex city as a young Black woman mindful of the challenges facing minorities. Erin attended Cabrini High School in the shadow of New Orleans Museum of Art where she was drawn to English Literature, writing, art and film. She developed a talent as a sketch artist and at Loyola University she studied Mass Communications; Journalism and French.  Erin describes herself as a ‘shy, nerdy kid' who surprised everyone by leaving the Big Easy for the Big Apple in pursuit of modeling opportunities; something she is still open to today alongside her day job. Her immersion in fashion modeling led to an interest in the photography and filmmaking. She prefers film that makes you think like psychological thrillers and horror. Her early inspiration in filmmaking came when she discovered Greta Gerwig's work in the 2017 Comedy Romance Lady Bird, and Christopher Nolan's 2014 SciFi/Adventure Interstellar, which captured her imagination for its visuals and soundtrack. Erin's career path has so far led to being a Second Camera Assistant, FAA Drone Pilot and an emerging Steadicam and Underwater Camera Operator at the age of 24. She says: ‘I want to be a complete master of the camera.'  Erin's ambitions align with her mission to champion the need for diversity, visibility and possibilities for women of color in the film industry. Erin on Instagram: https://www.instagram.com/erinhaynesofficial/ Some Female Visual Artists Erin admires:Supermodel Coco RochaSupermodel Naomi CampbellCinematographer, Camera Operator, and Founder of 600 Black Women, Chris Wairegi Cinematographer, Camera Operator, and Founder of @ladycameraguy on Instagram, Gretchen WarthenCinematographer and Steadicam Operator, Megan MasurActress ZendayaDirector and Cinematographer Chloe WeaverCinematographer Mandy WalkerFashion Model and Activist Bethann Hardison (whose film Invisible Beauty was shot by Cinematographer Mia Cioffi Henry)Photographer Nadia Lee CohenFashion and Beauty Influencer: Karen Blanchard (@karenbritchick on Instagram and YouTube)Singer, songwriter, entertainer, performer and business woman Beyoncé Knowles CarterFilmmaker Ava DuVernayFilmmaker Shonda RhimesFashion Designer Donatella VersaceVisual Artist and Painter Hill SprigginsPhotographer Kris DavidsonActress, Filmmaker, Fashion Icon, and Founder of PATTERN Beauty Tracee Ellis RossDirector, Writer, and Actress Greta GerwigActress, Writer, and Producer Meryl Streep Host: Chris StaffordProduced by Hollowell StudiosFollow @theaartpodcast on InstagramAART on FacebookEmail: hollowellstudios@gmail.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/wisp--4769409/support.

American cinematographer Erin Haynes is making her way in an industry that she believes has a long way to go to increase diversity among its crews. Erin was born in New Orleans in 1999—one of two daughters to Denise and Joe Haynes. She grew up in the 7th Ward of a complex city as a young Black woman mindful of the challenges facing minorities. Erin attended Cabrini High School in the shadow of New Orleans Museum of Art where she was drawn to English Literature, writing, art and film. She developed a talent as a sketch artist and at Loyola University she studied Mass Communications; Journalism and French.  Erin describes herself as a ‘shy, nerdy kid' who surprised everyone by leaving the Big Easy for the Big Apple in pursuit of modeling opportunities; something she is still open to today alongside her day job. Her immersion in fashion modeling led to an interest in the photography and filmmaking. She prefers film that makes you think like psychological thrillers and horror. Her early inspiration in filmmaking came when she discovered Greta Gerwig's work in the 2017 Comedy Romance Lady Bird, and Christopher Nolan's 2014 SciFi/Adventure Interstellar, which captured her imagination for its visuals and soundtrack. Erin's career path has so far led to being a Second Camera Assistant, FAA Drone Pilot and an emerging Steadicam and Underwater Camera Operator at the age of 24. She says: ‘I want to be a complete master of the camera.'  Erin's ambitions align with her mission to champion the need for diversity, visibility and possibilities for women of color in the film industry. Erin on Instagram: https://www.instagram.com/erinhaynesofficial/ Some Female Visual Artists Erin admires:Supermodel Coco RochaSupermodel Naomi CampbellCinematographer, Camera Operator, and Founder of 600 Black Women, Chris Wairegi Cinematographer, Camera Operator, and Founder of @ladycameraguy on Instagram, Gretchen WarthenCinematographer and Steadicam Operator, Megan MasurActress ZendayaDirector and Cinematographer Chloe WeaverCinematographer Mandy WalkerFashion Model and Activist Bethann Hardison (whose film Invisible Beauty was shot by Cinematographer Mia Cioffi Henry)Photographer Nadia Lee CohenFashion and Beauty Influencer: Karen Blanchard (@karenbritchick on Instagram and YouTube)Singer, songwriter, entertainer, performer and business woman Beyoncé Knowles CarterFilmmaker Ava DuVernayFilmmaker Shonda RhimesFashion Designer Donatella VersaceVisual Artist and Painter Hill SprigginsPhotographer Kris DavidsonActress, Filmmaker, Fashion Icon, and Founder of PATTERN Beauty Tracee Ellis RossDirector, Writer, and Actress Greta GerwigActress, Writer, and Producer Meryl Streep Host: Chris StaffordProduced by Hollowell StudiosFollow @theaartpodcast on InstagramAART on FacebookEmail: hollowellstudios@gmail.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/aart--5814675/support.

On this special episode of the Team Deakins Podcast, we speak with the inventor of the Steadicam: Garrett Brown (YENTL, THE SHINING, BOUND FOR GLORY). He not only invented the tool but also frequently operated it, breaking the new system in on MARATHON MAN, ROCKY, and BOUND FOR GLORY in a single summer in the mid-1970s. With just a high-school level of understanding of physics, Garrett was able (after a long, isolated week in a remote hotel) to think through the fundamental design of the Steadicam which is still used today—50 years after its invention. We learn about the biomechanics of the human body that informed the design of the Steadicam and of the four key aspects of the device that isolate the camera from its operator. Garrett later recounts the day he first used the prototype on BOUND FOR GLORY (its first ever use in a feature film no less!) and how the late cinematographer Haskell Wexler fought for its inclusion. Garrett also shares how Stanley Kubrick utilized the unique properties of the Steadicam while filming THE SHINING to move the camera “like a ghost” through the empty halls of the Overlook Hotel and chase the indefatigable child actor Daniel Lloyd across miles of carpet. Few people can claim to have changed the way we make movies, and Garrett is one of them. - This episode is sponsored by the Dallas Film Commission Instagram: @dallasfilmcommission

An interview with Dave Chameides, legendary steadicam operator who has worked on such films as Donnie Darko, St. Vincent, The Tragedy of Macbeth and shows like E.R., The West Wing, and Ozark. Join us as he talks to us about the challenges and joys of his job.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In our latest episode of the Born to Watch Podcast, we delve into the 1976 cinematic masterpiece, "Rocky," marking our first full gathering in nearly two months. This episode is particularly poignant as we embark on our "Rocky" journey, paying homage to the late, great Carl Weathers, whose portrayal of Apollo Creed left an indelible mark on the franchise and the hearts of fans worldwide.Directed by John G. Avildsen and written by Sylvester Stallone, who also stars as the titular character, "Rocky" is not merely a sports film. It is a narrative of hope, resilience, and the pursuit of the American Dream. Set against the gritty backdrop of Philadelphia, the film charts the life of Rocky Balboa, an underdog boxer with a chance to defy the odds and prove his worth against the reigning heavyweight champion, Apollo Creed."Rocky" begins by painting a picture of its protagonist as a down-and-out boxer, eking out a living by collecting debts for a loan shark. Stallone's portrayal of Balboa is both vulnerable and endearing, transforming a seemingly ordinary character into an everyman hero. Rocky's mundane existence is upended when Creed, seeking a gimmick for his next fight, selects him as his opponent, offering Balboa a shot at glory previously beyond his wildest dreams.The genius of "Rocky" lies in its ability to balance the brutal reality of boxing with the emotional depth of its characters. Burgess Meredith's performance as Mickey, Rocky's curmudgeonly trainer, adds a layer of grit and wisdom to the narrative. His relationship with Rocky evolves from scepticism to a deep-seated belief in his potential, mirroring the film's overarching theme of redemption and self-discovery.Talia Shire's portrayal of Adrian, Rocky's shy and retiring love interest, brings a tender counterpoint to the film's masculine world. Adrian's transformation from a wallflower to Rocky's pillar of strength encapsulates the film's message of finding courage in the most unexpected places."Rocky" is replete with iconic scenes that have since become ingrained in the cultural lexicon. The image of Rocky, clad in grey sweats, charging up the steps of the Philadelphia Museum of Art, is a symbol of perseverance and determination. Bill Conti's rousing score, featuring the unforgettable "Gonna Fly Now," elevates this scene, transforming it into a cinematic moment of triumph.The climactic fight between Rocky and Apollo Creed is a masterclass in tension and release. Shot with a gritty realism, the match transcends the physical bout to become a metaphor for the fight for self-respect. Carl Weathers' portrayal of Creed is charismatic and formidable, providing the perfect foil to Stallone's Balboa. Their rivalry, marked by mutual respect, underscores the film's nuanced approach to competition and ambition."Rocky" is not without its critics. Some have pointed to its simplistic narrative and idealistic portrayal of the underdog story. However, these criticisms overlook the film's emotional complexity and its reflection on the human spirit. "Rocky" is a testament to the idea that success is not measured by victory alone, but by the courage to stand up and fight for one's dreams.Beyond its narrative, "Rocky" is a technical marvel. The film's innovative use of Steadicam, particularly in the training sequences, lends intimacy and dynamism to Rocky's journey. This technological feat, combined with the raw, unfiltered portrayal of Philadelphia, creates a palpable sense of place and time.The legacy of "Rocky" extends far beyond its initial release. It spawned a successful franchise, elevating Stallone to superstardom and introducing the world to a host of memorable characters. Yet, its cultural impact is perhaps best measured by its enduring appeal. "Rocky" continues to inspire generations with its universal themes of resilience, redemption, and the relentless pursuit of dreams.In conclusion, our journey through "Rocky" is a fitting tribute to Carl Weathers and the indomitable spirit of the film itself. "Rocky" stands as a beacon of hope, a reminder that greatness often lies within the reach of those willing to fight for it. As we reflect on this cinematic gem, we are reminded of the power of film to uplift, inspire, and unite. "Rocky" is not just a movie; it is a testament to the enduring strength of the human spirit.As we wrap up this episode of the Born to Watch Podcast, we look forward to continuing our exploration of the "Rocky" saga, delving deeper into the stories and characters that have captivated audiences for nearly half a century. Join us as we continue to celebrate the legacy of "Rocky" and the unforgettable journey of its beloved characters.Please follow the Podcast and join our community at https://linktr.ee/borntowatchpodcast If you are looking to start a podcast and want a host or get guests to pipe in remotely, look no further than Riverside.fmClick the link below https://riverside.fm/?utm_campaign=campaign_1&utm_medium=affiliate&utm_source=rewardful&via=matthew

Ever wondered how the dance between actor and camera is choreographed to capture? We sit down with camera operator, Colin MacDonnell, as we traverse the landscape of filmmaking, we talk about the bridge between technical and creative. The episode is filled with anecdotes spanning from the nerve-wracking jitters of newcomers to the commanding presence of industry veterans.Colin's journey from Massachusetts to California and his ascent in the world of cinematography is nothing short of inspiring. His stories illuminate the intricate scheduling, the trust that threads through a film crew, and the profound impact of a respectful, united set on the storytelling process. Whether you're a film aficionado or a curious listener, the merge of creativity and technical skill discussed here will leave you with a newfound appreciation for the craft.We touch on how actors like Taron Egerton sync with the crew in a 'flow state,' and the challenges and triumphs of communication that define a film set's atmosphere. From the raw grind of career progression in the industry to the grace of a perfectly timed camera move, the stories shared here encapsulate the essence of movie-making — a testament to the collective endeavor of bringing stories to life. Join us for a journey through the lens of a Steadicam and into the core of cinematic storytelling.For our listeners, CFA's teamed up with We Make Movies to get you a discount on production management services, including access to comprehensive production insurance and workers' comp for your next shoot. Visit wemakemovies.org/insurance and use code CFA23 on your intake form for 10% off your quote.Calling all actors! Take 25% off your membership at WeAudition with code: CFA25 Website: www.cinematographyforactors.com Instagram: https://www.instagram.com/cinematographyforactors TikTok: https://www.tiktok.com/@cinematographyforactors Cinematography for Actors is a community aimed at bridging the gap between talent & crew through our weekly podcast & community events. Our weekly show supports the filmmaking community through transparent, honest & technically focused interviews with the goal of elevating the art of effective storytelling.

The film American Fiction has been nominated for over two dozen awards, including five Academy Awards. Director Cord Jefferson is a seasoned writer who worked on acclaimed series such as Watchmen, Station Eleven, and The Good Place. He adapted the screenplay and wrote the script for American Fiction himself. Jefferson knew that he would also like to direct the film, although it would be his first time ever directing. Cinematographer Cristina Dunlap knew immediately after reading the script that she wanted to work on the film. “I think there's always a concern every time you work with a new director, just learning their style and how they work. But the second I sat down with Cord, I could tell immediately that he was going to be a wonderful person to work with because he is just very joyous and positive and excited, collaborative and open to ideas. And so when we started talking about the script, it was really more excitement. And, you know, he was very honest. He said, 'I've never even directed traffic before. So you're going to have to maybe hold my hand through some things or answer questions.' And I was completely willing to do that.” Fortunately, Cristina and Jefferson had about eight weeks of prep time in Boston, with only about 25 actual shoot days. Cristina likes to break down each scene psychologically, to explore visually what each character is going through. They scouted locations with the rest of the crew, and spent time figuring out the blocking so that they would have a concrete plan when the actors were on set. Cristina relied on the Artemis Pro app to map the location spaces which really helped create photo storyboards, figure out the lighting setup and plan Steadicam moves. She knew it would be challenging to be able to fit everything in on each shoot day, especially when there would be six or seven people in a scene. The beach house was an especially challenging location for lighting- it had dark wood walls and low ceilings. Cristina knew they wanted to able to see the ocean through the windows, but they couldn't afford to light with a Condor lighting rig every day from the outside. She had to pull out a lot of lighting tricks and build off the practical sources in the space. For one scene, an arborist helped the gaffer by climbing a tree in order to rig several gem ball lights in the branches. Cristina got her start in photography. She went on to shoot music videos for artists such as Coldplay and Lizzo, and was the DP of the 2022 Sundance Audience Award winning feature, Cha Cha Real Smooth. American Fiction is in theaters now. Find Cristina Dunlap: https://www.cristinadunlap.com/ Instagram: @cristina_dunlap Sponsored by Hot Rod Cameras www.hotrodcameras.com Sponsored by Aputure: https://www.aputure.com/ The Cinematography Podcast website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

Rocky is Sylvester Stallone's first writing and starring role. He portrays a struggling boxer from Philadelphia who gets a chance to fight a world heavyweight champion. While struggling to be a champion boxer he is pursuing his love for the corner pet shop girl, Adrienne.    Timecodes: 00:00 - DMP Ad :30 - Introduction :46 - The Film Facts 6:01 - Film Trivia 11:08 - The Pickup Line 15:07 - The use of Steadicam 19:01 - The imagery in the different Rockys 32:05 - Head Trauma 33:23 - Smoochie, Smoochie, Smoochie 33:42 - Driving Review 34:46 - To the Numbers   Next week's film will be Suddenly Last Summer (1959) Subscribe, Rate & Share Your Favorite Episodes! Thanks for tuning into today's episode of Dodge Movie Podcast with your host, Mike and Christi Dodge. If you enjoyed this episode, please head over to Apple Podcasts to subscribe and leave a rating and review. Don't forget to visit our website, connect with us on Instagram, Facebook, LinkedIn, and share your favorite episodes across social media. Email at christi@dodgemediaproductions.com Need help editing or producing your podcast, let us help you. Also, you can get 2 months free on Libsyn click here: https://signup.libsyn.com/?promo_code=SMOOCHIE

Dave Chameides SOC is a two-time Emmy Award-winning Steadicam operator, environmentalist educator, and founder of The Op, a podcast, and website for camera operators. Dave's career has spanned productions such as ER, The West Wing, Ozark, From Dusk Till Dawn, Donnie Darko, Saint Vincent, and Shame. He has not only been nominated for Feature Operator of the Year and TV Operator of the Year but has also dabbled in TV directing. In this episode, we talk about his new website and podcast 'The Op,' his viral fame as a conservationist, and some of his favorite shots (oners) in his career.

It's Popzara's Movie Time! Podcast Halloween Schlocktober!, our yearly dose of creepy movie mayhem! Our harrowing hosts Ethan “Bloodlust” Brehm and Nate “Entrails” Evans are your personal guides for this shocking smorgasbord of four shlocky horrors scraped direct from cinema's bottom-barrel that prove you don't need blockbuster budgets to have a good time. Also: listen for a special intro from none other than horror legend Ken Foree (Dawn of the Dead and one of the films listed below). Happy Halloween! The Movies: Shlock Til You Drop First up is 1986's Troll (the original and not the “best worst movie”), directed by effects guru John Carl Buechler (Friday the 13th Part VII: The New Blood, Ghoulies III: Ghoulies Go to College) that epitomizes the “high-concept / low-budget” genre of horror/comedy that ruled the 1980s home video circuit. Next is 1987's Street Trash, directed by Steadicam master J. Michael Muro (a favorite of James Cameron) and one of the most celebrated of all “melt movie” classics. Third is 1996's Leprechaun 4: In Space, directed by Brian Trenchard-Smith (one of Quentin Tarantino's favorites, apparently). It's not just the best of the Warwick Davis-starring franchise but among the most bat$h!t crazy concepts ever stitched together. Last is 1989's Phantom of the Mall: Eric's Revenge, a reworking of the Phantom mythos directed by Richard Friedman where the real star is the mall itself (RIP) and not an early appearance by Pauly Shore.

We head to The Overlook Hotel with a full house and a very special guest. The Shining is a movie that is burnt into pop culture and we give it the royal treatment it deserves - "Here's Johnny"!!"The Shining," directed by Stanley Kubrick and based on Stephen King's novel of the same name, unfolds the descent into madness of Jack Torrance, portrayed with an electrifying intensity by Jack Nicholson. Set within the isolating expanses of the Overlook Hotel, the film weaves a harrowing tale of supernatural horror and psychological unravelling. The hotel, itself a character, amplifies the familial decay and eerie supernatural occurrences, presenting a dual-natured antagonist alongside Jack's deteriorating sanity.Kubrick's direction notably strays from King's novel, employing a more ambiguous and psychologically intricate narrative, emphasizing visual and auditory experiences over explicit storytelling. The director's utilization of Steadicam technology immerses the audience in a smooth, yet paradoxically disorienting visual journey through the labyrinthine hotel. This technique, paired with the unsettling, repetitious score, compounds the suspense, reflecting the chaotic spiral of the Torrance family.Nicholson's performance is complemented by Shelley Duvall, who portrays Wendy Torrance, encapsulating a terrified yet fiercely protective mother. While Duvall's performance was criticized by some for being overly frantic, it reflects Wendy's traumatic experience, providing a distressing mirror to Jack's menacing demeanour. Danny Lloyd, playing their psychic son Danny, delivers an eerily mature performance, navigating the horrors with a blend of childlike innocence and perceptiveness, evidenced through his relationship with his imaginary friend, Tony.The Shining goes beyond mere scares; it explores themes of isolation, familial disintegration, and the haunting spectre of the past. The symbolic use of imagery, such as the infamous river of blood from the elevator, the hauntingly vacant stares of the twin girls, and the perplexing room 237, contribute to the film's enduring impact and myriad interpretations. These symbols weave a rich tapestry that invites viewers to dissect and discuss the film's underlying meanings long after the credits roll.Kubrick's decision to minimize explicit supernatural explanations enables a potent exploration of Jack's internal deterioration, questioning the boundaries between internal demons and external supernatural forces. This intentional ambiguity permeates the film, leaving the audience to grapple with the complex interplay between the psychological and the supernatural, between perceived reality and delusion.In sum, "The Shining" stands as a timeless piece of cinematic horror, combining sublime performances, innovative cinematography, and a multi-layered narrative to create an unsettling, perplexing, and viscerally horrifying masterpiece.Please follow the Podcast and join our community at https://linktr.ee/borntowatchpodcast If you are looking to start a podcast and want a host or get guests to pipe in remotely, look no further than Riverside.fmClick the link below https://riverside.fm/?utm_campaign=campaign_1&utm_medium=affiliate&utm_source=rewardful&via=matthew

Episode 100 is a doozy and we're mixing it up with a special collaboration. LA based Camera & Steadicam Operator Brad Grimmett has worked on a huge amount of productions that include The Terminal list, Taken, Empire, CSI and Agents of S.H.I.E.L.D. In our longest episode ever, Brad shares stories from his career, our meeting via the backstreet boys tour and the creation of Walking Backwards, the first ever podcast for steadicam operators. Thank you to all the guests that have taken the time to share their stories and give advice for the past 100 episodes. Thank you also to the listeners who have tuned in and that have sent messages. This podcast was created 3 years ago, based simply on the idea that I wanted to give back and help people in this industry. Here's to the next 100. 

Jordan is a fellow University of Oregon alumni and joined us for an informative conversation about nerdy camera stuff. We talk about the intricacies of IATSE local 600 (camera union) and Jordan's personal experiences grinding through the ranks of the camera department here in Hollywood.  @jordaniousmaximus

Rochelle Brown talks about getting into the industry knowing no one, being the best Camera PA you can be, working with her heroes, and making the jump to become a Steadicam operator. This is a great episode for anyone trying to get into the industry or just starting out because Rochelle shares tips on how to succeed and has great advice for excelling at whatever you do in life. Rochelle's website and Instagram  Links and pics regarding todays episode can be found here. Please check us out on the web and instagram and like us if you enjoyed the episode. Theme Music - Tatyana Richaud Theme Mix - Charles Papert

As part of 80s week over on the IndieWire site, we are featuring a special conversation with a filmmaker who forever changed the ways movies look and feel. His early work created the iconic look of movies like Rocky and The Shining, and today we are all living in the world Steadicam built. Garrett tells the story of why he needed to invent a new tool for cinematic motion, and reflects on how its legacy has shaped cinema in the decades since. Learn more about your ad choices. Visit megaphone.fm/adchoices

Cinematographer Anastas Michos ASC, GSC humbly calls himself a journeyman cinematographer. However, after 25 years and multiple awards, Anastas possesses expert skill and versatility that can be seen across all genres. Most recently, Anastas was nominated for an Emmy for “The Autopsy,” an episode of Guillermo del Toro's Cabinet of Curiosities anthology TV series on Netflix. Del Toro selected the directors for each episode of Cabinet of Curiosities, and he chose idiosyncratic directors who brought their own sensibilities to each piece. Anastas had worked with “The Autopsy” director David Prior before on a horror film called The Empty Man, and they enjoyed collaborating together again. Anastas enjoyed working on Cabinet of Curiosities because it felt like making a short film rather than a TV show, with each piece a crafted short story rather than a serialization. For a consistent look, each episode used the same production designer, Tamara Deverell,  who also did the production design for del Toro's Nightmare Alley. While shooting the episode, Anastas was always conscious that “The Autopsy” should fall under the look of del Toro's brand. Anastas has always enjoyed shooting horror films because they explore the human condition in a very specific way. The cinematographer can creatively stretch the imagination and the image in a way that can't be done as much in dramas, comedies or romances, since they're usually based in our day to day reality. But Anastas likes to switch around among genres- after working on an intense horror film such as Texas Chainsaw 3D, a light rom com might sound really good. He's interested in any project that has a great story, script, director and crew. Before finding his way behind a camera, Anastas thought he'd go into the music business since he grew up in a musical family. Instead, he became a news cameraperson, learning visual storytelling on the job. He's found that his music background has actually served him well as a cinematographer- he feels musicality is very much a part of camera movement. One memorable time early in his career, Anastas was working Steadicam for Born on the Fourth of July. Director Oliver Stone pulled him aside and had Anastas put on a walkman so that he could move the camera to the pace of the music Stone wanted. After working as a camera and Steadicam operator for several years, Anastas got to shoot his first feature as a DP for Man on the Moon. Anastas found director Milos Forman to be simultaneously generous and demanding, with the capability of recognizing someone's potential and holding them to it. Guillermo del Toro's Cabinet of Curiosities anthology TV series is on Netflix. Find Anastas Michos: http://anastasmichos.com/ Instagram: @anastasmichos_asc_gsc IT'S A BOOK GIVEAWAY! WIN an autographed copy of Junk Film: Why Bad Movies Matter by Katharine Coldiron. Follow us on Instagram @thecinepod, Threads @thecinepod Facebook @cinepod or Twitter @ShortEndz and comment on our post about the book giveaway! Sponsored by Hot Rod Cameras: www.hotrodcameras.com The Cinematography Podcast website: www.camnoir.com YouTube: https://www.youtube.com/c/TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

In the words of Jack Torrance "Go Check It Out!" After a bit of a false start, Sean is joined by Nathan from 'Midnight Screening Podcast' returns for more horror goodness. My Guest: Nathan on Twitter: Nathan Needs A Username @needing_name Midnight Screening on Twitter: @Screening_Pod Warning: This is one of those reviews that is entertaining, but it is "a bit wordy". Discussion Points: -Sean begins with a quote from William Friedkin. -The initial reception to the film, when it was released. -This film sounds really underwhelming if you describe it. -The impact of Diane Johnson's screenplay, which she co-wrote with Stanley Kubrick. -The fantastic music. -Brian Clough: the greatest manager England never had. -The effectiveness of not telling the audience everything and "abiding with inconsistencies". -The innovative use of the Steadicam system, with the guy who invented it working on the film. -Sean got his money's worth out of that Special Features disc. -Nathan discusses the subliminal messages in the film, particularly the shifting geography. -Stanley Kubrick's working relationship with the cast, particularly Shelley Duvall: "the elephant in the room whilst discussing The Shining" as Nathan puts it. -James Cameron's similar temperament whilst directing. -Even Steven Spielberg thought that Jack Nicholson was overacting. -The background of Jack Torrance and Danny Torrance's relationship. -Sean loves that scene, but hates that word. -The Apollo 11 Moon Landings. -Stanley Kubrick's filmography. -Nathan and Sean reminisce about their Defend It Yourself: Resident Evil (2002) review. -Drop kicking a [zombie] dog in the face. Raised Questions: -How is it that one of the scariest films of all times being with the shot of a yellow beetle driving through the Colorado Rockies? -Are they ghosts? -Is Stephen King happy with any of his films? -Who tells their kid about The Donner Party? -How great would Stanley Kubrick's Napoleon have been? -Does this film constantly put the audience on the back-foot? -Did J.K. Rowling take inspiration for The Goblet of Fire hedge maze from The Shining novel/book? -Did you know there were Razzie nominations for this film? -Why did Kubrick do so many takes? -What convinced Kate Winslet do another water film with James Cameron? -Why does Sean keep bringing up football managers to his mainly-American audience? -Does this film unwind you? -Is there any alcohol left at the Overlook Hotel? -Did Jack Torrance drink to cope with having 'The shine'? -Was Kubrick just a big fan of horses? -Is the film an analogy for Schizophrenia? -Do people lower their expectations for 'horror' films? Random Recommendations: -Capricorn One (1978). -Doctor Sleep (2019). -Room 237 (2012). -Artificial Intelligence (2001). Thanks For Listening! Trailer: FilmFloggers: www.filmfloggers.com Review It Yourself now has a Patreon! Find us here: Patreon: https://www.patreon.com/review_it_yourself21 Twitter: @YourselfReview Instagram: reviewityourselfpodcast2021

With five different projects set to come out this year, Danish cinematographer Dan Stilling, DFF is finding fulfillment and pleasure in his career path. He's learned that even when working with a larger budget, you can figure out how to get the best out of very little with the right people and the right gear. As a teen, Dan played in a band and began to learn sound engineering. He got a job at a local TV station in Denmark as a sound technician and was inspired to become a Steadicam operator. After his training, Dan worked on a variety of TV shows. His first big break was working on the medical comedy Scrubs. He then transitioned from Steadicam operator to director of photography, which has informed Dan's style as a DP for framing shots. Over the years, Dan has explored many different genres: documentary, commercials, reality television, dramas, and comedies. He's found that as a cinematographer, you are asked for your opinion a thousand times a day, so it's important to have an informed opinion on everything you're responsible for. Dan was a huge fan of Andy Weir's book, The Martian. Once the movie started shooting, he was thrilled to be hired as the second unit DP. Additional photography in The Martian included footage of of the Kennedy Space Center at Cape Canaveral. Dan shot the launch of the Orion capsule and all the background plates at Kennedy, including a beautiful time lapse of the sunrise at Cape Canaveral. Dan's film, Valiant One, shot in Vancouver and releases later this year. Find Dan Stilling: https://www.dandop.com/ Instagram: dan_stilling_dff IT'S A BOOK GIVEAWAY! WIN an autographed copy of Junk Film: Why Bad Movies Matter by Katharine Coldiron. Follow us on Instagram @thecinepod, Threads @thecinepod Facebook @cinepod or Twitter @ShortEndz and comment on our post about the book giveaway! Sponsored by Hot Rod Cameras: www.hotrodcameras.com The Cinematography Podcast website: www.camnoir.com YouTube: https://www.youtube.com/c/TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

Let's take a deep dive into one of the most iconic and influential films of its time and all time: Rocky. Run up the stairs of great criticism and insight with us. Plus we'll talk A LOT about the history of bloodsport and pugilism, and whether violence (sporting or otherwise) is a "necessary evil" or a "positive good."Sources:1.  John Avildsen obit.2. Turn on to Love. 3. The Making of Rocky. 4. The Steadicam. 5. How the Fonz saved Rocky.6. Bill Conti interview. 7. Watching Rocky II with Muhammad Ali ★ Support this podcast on Patreon ★

Today, Team Deakins is joined by camera and steadicam operator Dave Chameides (SNOWFALL, THE WEST WING, ER) on the latest episode of the podcast. During our conversation, we discuss the effectiveness of the cinematography in 1917 and Dave's contribution to the creation of the final shot in ST. VINCENT. We also consider the responsibility an operator has towards the actors in front of the lens and the role of camera operation in storytelling. Towards the end, Dave also shares advice for anyone interested in steadicam operation as a possible career path. - This episode is sponsored by TrueCut Motion & Falca Instagram: @falcagram & @truecutmotion

Grab your spaghetti with marinara sauce and your f**kin' shinebox as NostalgiaCast '90s Palooza continues with a fond look back at GOODFELLAS, directed by Martin Scorsese and starring Robert De Niro, Ray Liotta, Lorraine Bracco, and Joe Pesci. Hear Jonny and Darin geek out over the acting, shot choices, and messaging of what might be Scorsese's greatest film(?), the greatest film of the decade(?), and the greatest gangster movie ever made(?). Don't be a schnook; listen now!

We welcome cinematographer Linus Sandgren, ASC, FSC for his third time on the podcast. On his latest film, Babylon, Linus was happy to work with director Damien Chazelle again. The two had previously collaborated on La La Land and First Man. In all of his films, Chazelle thinks musically, and camera movement is essential to his films instead of just relying on editing. Linus liked Babylon's script- though it was long, it had many fast moving pieces, and the story was told in a refreshing, unconventional way. He thought of it as a 2.0 version of La La Land- it expressed Chazelle's love of cinema, and despite some of the dark places the story goes, he felt an affection for the characters in Babylon. Like La La Land, Linus combined long takes with complicated camera moves, while also using handheld verité techniques they developed on First Man. To prep for the film, Linus and Chazelle watched several Los Angeles-period films together, such as Chinatown, There Will Be Blood, and Boogie Nights. The movie combines absolutely maximalist wide shots to intimate closeups and tracking shots on specific characters, in order to keep the film emotional. One of the biggest and most spectacular scenes in Babylon is the 32-minute pre-title opening sequence, depicting a wild Bel Air party complete with revelers, cocaine, and an elephant. They shot it in the lobby of the Theatre at Ace Hotel in Los Angeles, crammed with hundreds of extras. Chazelle wanted a really high angle on the party, but they couldn't fit a crane into the space, so Linus rigged a cable cam corner to corner from above to capture the action. They spent a long time blocking and rehearsing the party sequence, filming the overhead shots, then shot with a Steadicam through the party the second day. Babylon is about the early days of cinema, when the silent movie era is transitioning to sound. The crew had to show the process of shooting film in the first days of “talkies” and the filmmaking equipment of the time had to be historically accurate. Though Linus didn't use vintage film cameras on the movie, the production designer found film cameras to use as props and they were able to use old arclights that were fitted with HMIs so they actually worked on set. Find Linus Sandgren: Instagram @linussandgren_dp Babylon can be seen in theaters nationwide. Sponsored by Hot Rod Cameras: www.hotrodcameras.com The Cinematography Podcast website: www.camnoir.com YouTube: https://www.youtube.com/c/TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

Today, my guest is a prolific cinematographer, accomplished photographer, and member of the American Society of Cinematographers, Dean Cundey.Dean rose to fame for extraordinary cinematography in the 1980s and 1990s. His early start was working on the set of Halloween.  Dean is credited as director of photography on five Back To The Future films and Jurassic Park.The Halloween slasher franchise consisted of eleven films and was initially released in 1978. The films primarily focus on Michael Myers, who was committed to a sanitarium as a child for the murder of his sister, Judith Myers. Fifteen years later, he escapes to stalk and kill the people of the fictional town of Haddonfield, Illinois. Michael's killings occur on the holiday of Halloween, on which all of the films primarily take place. The second film, one of which Cundey served as director of photography, was based on Marty McFly, who had only just gotten back from the past when he is once again picked up by Dr. Emmett Brown and sent through time to the future. Marty's job in the future is to pose as his son to prevent him from being thrown in prison. Unfortunately, things get worse when the future changes the present.The three Back To The Future films Dean worked on grossed $388.8, $336, and $243 million globally, becoming all-time hits on budgets of $19, $40, and $40 million.Cundey is cited as being amongst some of the best directors of photography. In addition to his lighting skills, particularly in the famous hallway scene where the hidden face of Michael Myers is slowly revealed by way of a blue light next to the mask, he was among the first cinematographers to make use of a recent invention called the Steadicam, or paraglide.Some other shows and movies he's worked on include, Who Framed Roger Rabbit, Tales of the Unexpected, Romancing the Stone, Invitation To Hell, Big Trouble in Little China, etc.Who Framed Roger Rabbit; A toon-hating detective is a cartoon rabbit's only hoping to prove his innocence when he is accused of murder. Basically, 'Toon star Roger is worried that his wife Jessica is playing pattycake with someone else, so the studio hires detective Eddie Valiant to snoop on her. But the stakes are quickly raised when Marvin Acme is found dead, and Roger is the prime suspect. Groundbreaking interaction between the live and animated characters, and lots of references to classic animation.Dean grew up an avid reader of the American Cinematographer magazines he would buy after school from a local camera shop close by. That was how his inspiration to pursue filmmaking came about. He shifted his focus to theater history while still taking some architectural design classes at California State University before he ultimately enrolled at the University of California Los Angeles film school.In 1993 Jurassic Park, Dean made a minor appearance as a boat crew member (Mate) while also staffed as director of photography. The film follows a pragmatic paleontologist visiting an almost complete theme park tasked with protecting a couple of kids after a power failure causes the park's cloned dinosaurs to run loose. Huge advancements in scientific technology have enabled a mogul to create an island full of living dinosaurs. A park employee attempts to steal dinosaur embryos, critical security systems are shut down, and it now becomes a race for survival with dinosaurs roaming freely over the island.Cundey holds over one hundred and fifty cinematography & photography credits for movies, television, and short films. That is no small feat in this business. The man has stayed busy and booked since graduation from film school. That kind of consistency in Hollywood is only doable by having extreme persistence and excellence.One of the many things he did to stay prepared and on top of his craft was investing into building himself a ‘super van' or one couple call it a cinematographer's heaven that contained every equipment (cameras, editings tools, etc.) required to help him get work get and do work easily. We talk more about this in our chat.Enjoy my conversation with Dean Cundey.