Watch: The 180-Degree Rule Explained in Less than 2 Minutes

This is one of the first and most important fundamentals you learn in film school. Why not learn it from this 2-minute video, tuition free?

If your professor isn’t too tired/frazzled/hungover to just toss a syllabus on your desk and call it good, your first day of film school is most likely going to include a lesson on the 180-degree rule. This filmmaking fundamental is key in keeping the spacial continuity of your film clear and concise, which will in turn keep your audience from being confused about what’s happening on-screen. In this short video from Fandor, you get to learn all the basics of the 180-degree rule, how to follow it, and how to break it for dramatic effect.

The thing about the 180-degree rule is that it’s pretty simple in theory: draw an imaginary line down the center of the action and then only shoot from one side. Bam! Easy! However, in practice it’s a little more difficult than that, because it’s easy for things to get confusing once all of the cameras, tripods, lights, actors, and crew members are buzzing around on set.

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Watch: Everything You Need to Know About the Most Important Rule in Filmmaking

The 180-degree rule is a basic but incredibly important filmmaking concept to understand

When we walk into a room, our brain perceives it three-dimensionally, seamlessly stitching our visual perceptions together. This means that when you’re attempting to render a three-dimensional space in two dimensions, such as on a movie screen, you must pay careful attention to the way in which the audience will perceive the space subconsciously. To avoid this disorienting of your audience and visually fracturing of your narrative, you must follow the most important rule in cinematography: the 180-degree rule.

A new video essay from Wolfcrow shows how to properly adhere to—or break—the 180-degree rule, depending on your intentions with the scene. (Of course, the 180-degree rule is only relevant if there are cuts in the scene; for single-shot scenes, it doesn’t apply.) The video covers how to shoot with the 180-degree rule, which bisects the set, for one-person, two-person, three-person, and four-or-more-person shots. It also details some great tips for action scenes and eye line-matching.

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‘Fast & Furious’ in Space? Franchise Writer Won’t Rule It Out and Has a Killer Idea

Fast and Furious in Space

The Fast and Furious franchise is known for its ridiculous action as much as its overuse of the word family. When the film series started as a street racing version of Point Break back in 2001, it was a little more grounded, but a few films later, that went completely out the window as Universal embraced the insanity of the action sequences cooked up by the filmmakers.

As the Fast and Furious films have continued and the action has escalated, fans have joked that Dominic Toretto (Vin Diesel) and his de facto family will eventually have to head to space to up the ante. Writer Chris Morgan has heard this multiple times, and he surprisingly didn’t shoot down the prospect when asked about it recently. He even has one hell of an idea if it were to happen.

Uproxx sat down with Chris Morgan for an interview leading up to the release of The Fate of the Furious this coming week, and they flat out asked if we might ever see Fast and Furious in space, where there are no roads. Interestingly enough, Chris Morgan didn’t say no:

“Look, I get all versions of that question. I get, ‘Are you going to space?,’ and, ‘Please, God, tell me you’re not going to space because you’ll lose me if you do.’ … The only way I’d go to space is if I had something so good.”

Since this is the Fast and Furious franchise we’re talking about, the meaning of “something so good” doesn’t necessarily hold a lot of weight. Still, it would have to be something that makes somewhat logical sense. But Chris Morgan has an idea that is so awesome that I’d be willing to throw all logic out the window. Morgan says:

“What if Dom’s long lost brother, Richard B. Riddick showed up?”

That sound you hear is of minds being blown around the world. Could you imagine having a movie where the Fast and Furious cast not only goes to space, but they end up meeting Richard B. Riddick? For those who don’t know, that’s the character that Vin Diesel has played in Pitch Black, Chronicles of Riddick and the most recently released Riddick. Could audiences handle two bad ass versions of Vin Diesel in one movie? It just might be too much to handle.

As crazy as it sounds, the story would be the hardest thing to crack. Riddick just so happens to be a franchise that is situated at Universal Pictures, the same studio behind the Fast and Furious franchise. However, if we’re going to have a crossover that gives us two Vin Diesels, there’s one that makes a little more sense.

What audiences really need to see is a crossover that blends the xXx franchise with Fast and Furious. The blend of extreme sports action, heists and fast car chases just makes sense. But the problem there is that Paramount Pictures owns the rights to xXx, so it’s about as likely to happen as Fast and Furious going to space.

Though James Bond and Jason Voorhees both went to space, I personally can’t see this ever happening, but I’d be first in line to see what they movie would be like. We’ll just have to take solace in the fact that there’s no shortage of crazy ideas to continue the Fast and Furious franchise in the most ludicrous way possible if it ever came down to it.

The post ‘Fast & Furious’ in Space? Franchise Writer Won’t Rule It Out and Has a Killer Idea appeared first on /Film.


‘The Good Postman’ Breaks Every Documentary Rule You Know—And It’s Amazing

“Minimal interference doesn’t mean maximum reality.”

In the course of making documentaries over the last decade, director Tonislav Hristov and writer Lubomir Tsvetkov have embraced a controversial idea: just letting the camera roll is not the best way to bring out the truth. Instead, by taking on the difficult task of staging reality, Hristov believes you can get much closer to the essence of the story.

The results are stunning in The Good Postman, which follows a postman’s mayoral run on a platform of welcoming refugees into his Bulgarian border town of 38 elderly residents. Hristov and Tsvetkov sat down with No Film School at the 2017 Sundance Film Festival to talk about their refreshingly unorthodox style of documentary filmmaking.

“When it comes down to it, I stage situations that work because I know the people so well.”

NFS: The Good Postman feels like a narrative because there is beautiful coverage (including reverse shots and establishing shots) that you just don’t see in traditional vérité documentary. How were you able to make the film this way?

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‘Strad Style’: This Slamdance Winner ‘Broke the #1 Rule of Doc Filmmaking’

Director Stefan Avalos ditched two years of documentary work to re-focus on a guy in rural Ohio trying to replicate one of the most famous violins in history.

Winner of both the Documentary Grand Jury Prize and the Documentary Audience Award at Slamdance 2017, Strad Style follows the epic journey of Daniel Houck, who is determined to recreate one of the world’s most famous violins, Il Cannone, for preeminent solo violinist Razvan Stoica. There are just a few catches: Houck has never actually seen Il Cannone in person. In fact, he’s never left Ohio. And he’s never met Stoica, either. Never mind that Houck is still learning how to make violins in his rural farmhouse without the best tools.

In Strad Style, director Stefan Avalos has captured this wonderful, against-all-odds story featuring a fascinating personality at the center of the film. No Film School had a chance to talk to Avalos about how he discovered Daniel Houck, why he discarded two years of documentary work to focus on this particular story, and the technical hazards and challenges that both he and his subject had to overcome during the making of Strad Style.

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