#filmmaking lenses

[djkerr]

Succession, shot on film.🎞✨

🎥 @cinedreamlenses via IG

[of-two-lands]

43°40'39.8"N 4°37'49.7"E

youtube/oftwolands

www.oftwolands.com

[annoyingthemesong]

SUBLIME CINEMA #677 - SECONDS

John Frankenheimer had a strange career, with ups and lags, success and a lot of hired gun television work, which is now mostly ignored. He found the most success in the 1960's, as a go-to-director for some great political or paranoid thrillers; he was so reliable to studios that he replaced Arthur Penn after three days on 'the Train', and got a Ferrari out of the deal.

Seconds is my favorite. The look is pure disorientation. The cinematography is so expressive, the lenses so wide it makes a Clockwork Orange look like it was shot for TV.

[filmcourage]

How To Get A Retro 70s Film Look

[niceladyproductions]

Best Tokina Cine Lenses: Full Frame Vista Primes

You know as well as I do there are a lot of cinema lenses on the market, particularly now that we are in 2024.

So why consider the Tokina Cinema Vista Primes? My video review includes LOTS of footage to showcase just how amazing these lenses are. I think of Tokina lenses as having character while still being sharp. The Vista Primes have no focus breathing, beautiful flare characteristics, are fast at a T 1.5, have interchangeable lens mounts and can cover Vista Vision size sensors. Tokina Vista Primes come in focal lengths between 18mm - 180mm, so they really are a complete set.

Tokina has released a second set of these lenses called Vista-P with reduced contrast, swirly bokeh and a look that better reflects a set of vintage lenses. The plus of the P series is they are modern in physical design, so you get the vintage look but in a lens body that is easier for professional focus pullers and cinematographers to use than vintage lenses that might have challenging physical characteristics.

Enjoy the review and if you're interested in these awesome lenses use the coupon code CONLIN10 and save 10% off! Tokina Cinema lenses and filters through their USA store https://bit.ly/3RMnms4

[thegirlwholeftthefridgeopen]

Roger Deakins on How to Choose a Camera Lens — Cinematography Techniques...

[karingottschalk]

Fujifilm Japan: Fujifilm unveils the latest development roadmap for interchangeable lenses designed for the GFX Series of mirrorless digital cameras – Press release

GF 55Fujifilm unveils the latest development roadmap for interchangeable lenses designed for the GFX Series of mirrorless digital cameras TOKYO, September 12, 2023 – FUJIFILM Corporation (President & CEO, Representative Director: Teiichi Goto) has unveiled the latest development roadmap for interchangeable GF lenses designed for the GFX Series of mirrorless digital cameras, which incorporate the…

[pearwaldorf]

I hate that you can't see a tweet thread anymore if you're not logged into Twitter (as a gesture of disrespect I refuse to call it by its rebranded name). Here is a copypasta of a thread from Dan Olson, a Canadian documentary filmmaker, expanding upon camera quality, the guilt trips Somerton used to goose his Patreon subscriptions, and how the best tools will never make up for lack of dedication or patience. I have added clarifications in [[double brackets]] where I feel it is necessary.

START OF THREAD

Okay, so, back in April I snapped at James in reply to a tweet that was linking to this video (which James has since delisted but not deleted) and I want to talk about the full context of that but I don't want to make a video, put your beatdown memes away. [[The video has since been deleted. I can see the title of the video is "Maybe the end (not an April Fool's Day thing".]]

The first bit of context is that I initially got keyed into James to fact-check his claims about indie filmmaking in Canada. As a filmmaker the entire Telos venture was immediately obvious as a juvenile fantasy dreamed up by someone with no idea how to make a movie.

Just wild claims about their plans that weren't worth debunking because they bordered Not Even Wrong. But in watching one of these pitch videos I noticed that he had a $4000 current-gen camera in the background as a prop, and that seemed both pretentious and weird.

You don't use your best camera as a prop, you use your second best camera as a prop. So being an obsessive weirdo I needed to know, and I watched his BTS stuff until I spotted his main rig, a $6000 camera with about $1000 in accessories.

Now, these in isolation are unremarkable because his Patreon at the time was bringing in ~$8000 per month, his channel was a full on Business business, and so investing in some professional equipment of that level is maybe a bit indulgent but justifiable.

What was weird is that he doesn't shoot multi-cam, doesn't shoot outdoors, doesn't shoot on location, and in a studio the two cameras kinda really step on each others' toes. Basically if you already have one and don't need a B cam there's no reason to get the other.

Again, on its own, this says nothing, it's just indicative of poor financial decisions, maybe impulsive purchasing, Gear Acquisition Syndrome. Biblical sins, but not crimes.

Paired with the constantly inflating fantasy scope of the Telos films it was clearly an expression of a very, very common bad filmmaker habit of "if I just get the right gear then my movie will basically make itself" Buying stuff because it feels like progress.

At the end of February he tweets "I want to start shooting anamorphic" and then three weeks later in March he posts the worst, out of focus, under-exposed "I just got a new lens!" video I've ever seen, showing off his trash-covered bedroom.

Based on what's available for his cameras and the lead time, that's enough time to get a Laowa Nanomorph or Sirui Saturn from B&H but not enough time to get a Great Joy from the UK or a Vazen from China. And with the flaring blah blah blah, $1300 lens.

Again, [gear acquisition syndrome] is not a crime and these lenses are budget options. Bit of a pointless impulse purchase since he only used it for the Showgirls video. But this is what he was doing just a few weeks before that above video came out: effortlessly impulse purchasing lenses.

James has (had?) a habit of regularly, aggressively driving viewers to Patreon by claiming that videos were getting demonetized. While tacky, it is something a lot of queer YouTubers have dealt with, so there's precedent there. But people were noticing he did it a lot.

Mid-March he humble brags about needing to work so hard to make 6 videos in April because he has over-booked sponsorships.

Then March 29th James posts this whole incel screed on Twitter about how sex work should be "subsidized as a mental health service."

[two image descriptions.

1. "For the majority of people sex (and human contact) can be imperative to a healthy state of mind. A kind and talented sex worker can make someone feel wanted for the first time in their life. I know sex workers who have pulled people back from suicide just by being there for them." 2. "Not only should (sex work) be legal, but it should be subsidized as a mental health service."]

He spends several days getting absolutely *roasted* for this, just dragged across the pavement and read for filth, and doubles down in the replies the whole way.

So this is the context immediately surrounding James waking up on Friday, and posts the above video and the below tweet.

[image description: "We just got the lowest Patreon payout we've gotten in well over a year. Like, a "maybe we need to rethink things" kind of amount... NOT an April Fools Day thing btw. But I don't know if we'll be making videos much longer."]

Now, this unfolds in kinda two directions. The first is that I'm convinced he was just lying about this income shock in the first place.

There's a million theoretical edge cases about what maybe happened and if maybe he just misunderstood the data or saw a glitch and panicked, maybe one of those happened, I don't believe it, I think he just lied because he was salty about getting dragged and felt owed a win.

A big tell to me is that he doesn't blame Patreon. He says he doesn't know what happened, but let's be real, Patreon screws up all the time, they're the first people anyone blames if anything confusing happens, just as a reflex action, even if it's completely not their fault.

The only reason to not blame Patreon is if you already know that it's not their fault and that any investigation on their part might reveal embarrassing details.

Instead he indirectly blames his viewers for not watching enough, not sharing enough, and not turning on auto-renew.

So regardless of the unknowable truth, this segues into the second, far more offensive direction of the messaging itself. "I don't know if we'll be making videos much longer." "Maybe the end" He explicitly framed this as an immediate existential threat to his channel.

In the video he is vague about everything, leaves a ton of hazy room for plausible deniability on how long the channel can keep going, but the messaging is "I need more patrons right this minute or my YouTube channel is over."

He repeatedly evokes all the "fun stuff" they had planned that would never see the light of day if this didn't turn around right away.

And his audience received this message loud and clear. Tons of people making far, far, far less than him left very heartfelt messages about digging a little deeper to subscribe or up their pledge or unsubscribe from other channels to move their pledge to his.

1200 new patrons in one day.

Since I simply don't believe the income shock was real in the first place that would put his post-"Maybe the end" Patreon income at around $10,000 per month. US. Add YouTube income, he's spent the last seven months making around $18,000 per month.

I have seen creators scale back their capabilities to the bone purely to keep making videos for the love of just, like, making stuff even as their funding evaporated and they needed to go back to a desk job to cover their bills.

You'd have to be so outstandingly reckless with your finances as a channel that a one month spook leads immediately to "channel over, sorry about all the fun stuff we won't get to do with you, our patrons, specifically because you, our patrons, aren't giving us enough money"

And not a spook where you then spend a couple weeks crunching numbers. Oh no. A shock so violent where less than two hours later you're weeping on camera about the channel being over.

Three weeks later he brought a brand new Sony FX6v for $8000 CAD to add to his pile of cinema cameras despite the fact that he was, but scant moments earlier, in such a precarious position that a single bad month would kill his channel.

He stole your money, and for that I'm profoundly sad and angry. That's why I snapped at him in April. I'm sorry I couldn't give you the full context then, and I'm sorry if that anger upset you.

END OF THREAD

[pablolf]

Shooting '"Miller's Crossing" : A Conversation with Barry Sonnenfeld

[wellofdean]

OK, I was going to reblog this excellent post by @luckshiptoshore so go read it, because yes. Yes!! YES!!! But then when I got started my post got super long and I felt bad tacking it onto her post and decided to make my own in response to these tags:

#i am actually a bit obsessed by the whole hunting as queerness metaphor#it’s so clearly something everyone involved in the show is thinking about#supernatural

Gurl, me too! Like go back to the start! By the time Supernatural began, the backlash against the Joseph Campbell Monomyth-style mode of storytelling had already begun in the hallowed halls of USC film school, and yo: I was there at the time of Kripke's graduation, and my best friends from college are full scale big giant time filmmakers now, whose names I will not share on main because it's uncool, and I don't want that attention, but... yeah. I am referencing FIRST HAND SOURCES on this.

But, for a real source? The Oxford English Dictionary places the first use of the term "Queer Theory" in 1990, with Queer Studies as an option in the academy by 1992. I know the kids think it's a new-fangled thing, but Kripke graduated USC in 1996 (I graduated in 1995) and it was ALL THE RAGE by then. My friends read queer theory in their Critical Studies courses in the Film School, I read it in the College of Humanities getting my degree in Literature. By that time, you could not get through that school with any degree in any non-STEM subject without knowing about ye olde postmodern lenses, queer and feminist theory, and without knowing how to employ those lenses.

Queer refers to sexuality, yes, but the word's earliest use (again, according to the OED) is in the 1500's, meaning: strange, odd, peculiar, eccentric. Also: of questionable character; suspicious, dubious.

So, ok, in 2005, Enter Supernatural, episode 1:

Presented? Two brothers. One actively seeking credit in the straight world that is not available to him in the bosom of his family: Stanford, law school, hot co-ed girlfriend, the other bound to his fractured, wounded family by duty, yes, but also by love, living on the fringe, alone, fighting monsters, and chasing after his father's approval, and who has long since given up any dream of being 'normal'. Episode 1 presents Sam's call to adventure, which he refuses when it's just familial duty, honor and love calling him, but accepts when the show takes a very straightforward and very telling path by classically fridging his woman. Ok, now he's on board. Like John, whose motivation is another dead woman, his motivation is revenge. So far so straight!

Dean though: he's different. He is already on the adventure and he was not 'called' or given the option of accepting or refusing because he had no agency when his feet were set upon this road. He does not fit the straight world at all, because he is cobbled together out of love, duty, deep guilt, striving, desperation and fear. This is who he is now, in some elemental, incontrovertible way. It was not a choice for him, he was born to it. His mother is dead, and we later learn, she made the choices that brought them all to this fate. Dean remembers her idyllically, but he is not motivated by revenge, more than any other thing, he wants to be worthy. He wants his father's approval, his brother's love.

Enter Supernatural's main theme: fucked up relationships between men enmeshed in patriarchy, which will eventually expand to include fucking GOD HIMSELF.

And like, there are SO MANY CLEAR STEPS ALONG THE ROAD in season one, and I am not even talking about sexuality and gender here, but there is SO MUCH TO SAY about it in season 1. But I am not talking about that -- I am talking at a structural, narrative level, the whole thing is just fucking all the way queered, yo.

The big climax?

At the end of the season, Dean says: "I just want my family back together. You, me, Dad... it's all I have." He is Sam's mother, John's partner! His vulnerability and emotion is feminized and contrasted with Sam and John's more overtly driven by their more masculine/straight heroic revenge quest. John: "Sam and I can get pretty obsessed, but you always take care of this family." Only that's not John talking, it's Azazel, and Dean knows it is because his father would never forgive how soft he is, how he will always choose love and family over revenge. Then, in the end, the show makes a huge point of telegraphing that Sam is finally aligning with Dean by refusing to shoot Azazel because he's possessing John, and Sam just can't do that to Dean.

Sam and Dean are thus bound together and cemented into a marginalised path, living on the road, haunting liminal spaces and cheap motels, confronting the monstrous everyday. Sam is presented as the brains of the operation, he does research, logics his way through things (masculine) while Dean is the heart who acts impulsively and on instinct and intuition (feminine).

It later transpires that Sam has a piece of the monster inside himself, and Dean has to learn to love the monstrous, he has no choice, because Sam is his brother and then Cas... and, and, and!

Like... I could go on and on, citing ENDLESS EXAMPLES. This could be a literal book. Maybe one you need to read with a magnifying glass like my condensed edition of the OED. LIke, the queerness of Supernatural is DIZZYING and MYRIAD.

But basically? FROM THE START, hunting is a queered version of family, and within that, Dean is a queered version of a Campbellian hero. Hunting is a metaphor for otherness and liminality, and that's even before you say a WORD about sex. It starts in deviation from the norms of family, masculinity and expands from there on so many levels both in story and on a meta level. The story is flesh on queer fucking bones.

I'm so sorry, but anyone who thinks queerness was not BAKED INTO Supernatural and more specifically into Dean from DAY 1 has clearly never seen Dean's insane lip gloss in season 1, and vastly underestimates the cultural awareness of people who write shit in Hollywood, and also the other people who put pink lip gloss on pretty boys in Hollywood. Nothing that gets on your screen wasn't a fucking choice made and approved by a LONG LIST of people who know what they are about.

[of-two-lands]

44°58'23.5"N 6°03'54.8"E

youtube/oftwolands

www.oftwolands.com

[thereraigoes]

“how to make millions before grandma dies” through my own lenses.

these days, the internet is filled with people recommending this film to be added in everyone’s watch-list. 1) asian family themed 2) people said it’s tear jerking 3) it’s available at the nearest cinema from home— those three points intrigued me to give the film a toss to try. a moment after i went from the cinema, i know well that people who keep recommend this film is not lying at all.

reviewing a film is never my forte but this film makes me want to write something after watching it. i guess it’s the bond of similarity that this film has to me, especially i’m an asian as well.

i would like to give the five stars to,

the color grading.

i am always a big fan of films that have pretty color grading. htmmbgd has a really pretty, i would even say it’s the prettiest color grading from all the movies that i’ve watched lately. if you look closely toward color grading of each film, sometimes several places have its own colour— so does this film, somehow you can know exactly where the film is located just by looking at its color. i don’t really know how to describe it but when i saw that warm, sunny that sun can sting your skin but someplace is kind of shady.. somehow it really screams asia, and it feels so homey.

also a plus point that it is neither over saturated nor under saturated. it’s unpleasant to watch the artist’s skin look so orange where they are not meant to be a tangerine or look so grey where they are not meant to be someone who hasn’t eaten for a week.

it just.. chef kisses. a lot of scenes that show scenery around the setting and it doesn’t lessen the plot, it makes the audience know about the place without too much movement from the camera.

the sound choice.

it adds drama and spices to the films so much and without them, maybe people can survive this film without crying. it plays an important role as well to the plot since we know that m is known as a scaredy cat and amah’s lullaby is the one who relaxed him down and vice versa (i’m not mentioning that scene okay!)

“you can’t leave this cinema without crying buddies.. it’s okay you can cry, okay cry now” that would depict how the sound’s role in htmmbgd.

the plot.

i won’t say a lot about this but kudos to the filmmaker because it’s really good! the plot doesn’t always go like the audience prediction but somehow it’s relieving.. that’s just the same as how the real world does right?

the highlighted-scene and little details that i care for,

a heads up. i might mention some scenes and maybe some of them are spoilers to everyone who hasn’t watched it. so feel free to stop reading if you feel the spoilers are too heavy for you. i’ll try to lessen it!

amah’s paperbag

while watching the film, i realize that amah never wears a proper ‘bag’. we only see that she always wears paperbag that m always carries for. in my interpretation, it symbolizes the humbleness of amah. we know that amah only sells congee for living— three children and herself. those moneys that she get from is always prioritized for her children needs, not her needs— especially for secondary and the tersier one. if it’s enough to carry, then let it be. but we know, there lies a thing that meant a lot for her family inside it.

m and amah talks when m asked why amah always wanted to have a great land of cemetery for her soon.

i can’t help but cry in silence when this scene appears because it’s just so.. ironic. amah always wants to have her children coming together with her, even when she is passed away so she thinks if her children don’t want come when she is alive— a good cemetery would probably help her desire to have a nice gathering without an argument.

pomegranate and amah’s implicit love.

just like common asian themed poem, there will always be mom cutting fruit to symbolize mother love. but i never read (this could be i am the one who never find it, send me one if you ever read it!) a grandma who is cutting the fruit.

even for her own son, amah forbade him to eat the pomegranate because it was meant for m only. she has kept that pomegranate tree for years, water it everyday, cut the rotten branch, wrap the pomegranate with plastic so the caterpillar won’t eat it– she cares it just like she cares m.

even though amah is grumpy toward m (she knows since day one that m is hiding something from her), she still loves and cares for him.

“sons got the assets and daughter got the cancer”

i want to hug ma so bad. she is the most hardworking one between amah’s children yet she assumes that she never receives amah’s love. it just.. i want to hug her so bad.

and finally, the deeds.

i don’t really know about other families but mostly i reckon that this issue is really controversial. family can separate to each other because of this issue only, they highlight the importance of inherited parent’s wealth. i know it is their right to have it but neglecting the fact that their parents need their children’s time and only wanting their wealth is so sickening.

we know that m cares amah only for her deeds at the first but slowly he knows that it is not always about the deeds, it’s about cherishing the memory with her while it lasts.

it’s bearable that m is mad to know that soei is the one who got the house– i mean who doesn’t mad though if the one who got the house is the one who never helps to care about amah, never have a job and a burden to amah, even steal amah’s money. it happens commonly in asian family, my family as well. sometime i don’t really know what on their mind.

but through this, i realize that how old we are, our parents still look at us as a child. that’s why amah apprehends soei, she’s worried that if she doesn’t give soei her house then he could never solve all his problems.

but that mindset is a fatal flaw as well, by then we can see that soei only rely to his mother. he could never stand on his own. i’m relieved that m scolds for him even though soei is much older than him.

conclusion and rating from me, rai,

it’s worth to watch, at least once in a lifetime. you can always rewatch it though but beware running out of your eyecream because it really makes your eyes swollen right after you leave the cinema.

cherish everyone in your life while it lasts. don’t be so bitter to people, sometimes they need help but they are afraid to reach you out.

lastly, it’s a solid nine out of ten.

[medra-gonbites]

Baldur's Gate 3 Companion Head Canon Filmmaker Edition

Depending on your crew, filmset can be the best time or the worst time of your life!  While kicking back and playing Baldur’s Gate I started to wonder what kind of positions would the gang assume on a filmset.

Here is my personal HeadCanon for the tadfools (+ Jaheira, Halsin, the Dead Three and Withers) if they were to be on a film set.

Astarion | Costume 

Of course Astarion would be in charge of the costume department! Not only because he can sew and design the best costumes with utmost skill, if you provide him with nothing but rags, but also because he would make sure the actors are always decent and taken care of. End of a risqué scene? Boom, he is already there with a robe, some blankets and a water bottle. “Let’s take you back to the changing room darling!"

Besides he is very fast and stealthy which would be a perfect time saver for in between takes: last minute check and tweak before we start rolling? Watch him dash to unwrinkle fabrics or refasten pins: 0 second lost.

Shadowheart | Production Design

Shadowheart would love to be in charge of the decor. Already in pre-production she would have a blast skimming flea markets and brocantes to find props and elements to create the perfect set, although she would probably be able to craft it from scratch if needed be, and could create an atmosphere with nothing but cardboard if she had to. She would keep track of all the props and organize them in a neat fashion. She would be so focused there is no chance you would end up with a continuity error (not in her department anyways!).

Karlach | Light Technician

Karlach has a light crew vibe to herself. She would run around rolling and unrolling cables, carrying and setting up C stands, activating generators, going as far as powering them herself if she has to. Watch her set up the lights and filters like it's nobody’s business. Sandbags? No worries she can carry 20 at a time. She can hold a reflective panel above her head for hours without breaking a sweat. Friendly and motivated, she is a wonder to work with and the camera crew has no issues communicating and coordinating with her. Tell her what needs to be lit and she will make sure it is. Let there be light!

Wyll | Acting

The charisma, these dance skills, the whole blade of frontier performance that radiates main character energy? You cannot convince me Wyll is not born to stand under the spotlight or in front of the cameras. At the beginning of his carrier had a preference for theater but he prefers cinema because it gives him the opportunity to do several takes and indulge his perfectionist side. He would be on set early to rehearse and he would be an absolute treasure to the rest of the crew. Very talented and humble, the best actor to work with!

Gale | Director of Photography

I will not budge: Gale would be in charge of the imagery. What angle, what move, what ratio, what color? He'd know what’s best to tell the story and his composition would always be on point. He’s got 10 different lenses, he made the shotlist six months before the shoot and he went on all the location scouting rekkie, even the ones he did not have to attend. He also checked the location at different hours to have a look at the natural light change through the day. He is very patient with his assistants and with the lighting crew which he would always give a hand to set up the lamps (literally thanks to the old mage hand). Don’t touch his camera though, he will fight you.

Lae’zel | First Assistant Director

“Ok, we have a schedule and we have to make sure we respect it. How much time do you need to build this scene? 10 minutes? Do it in 5!”. Lae’zel would be such an efficient first AD but she also would become the scapegoat of the set because of how demanding and blunt she would be. She doesn't mind and she knows its a status that often comes with the job. At the end of the day, everyone would get to leave on time though (or barely a few hours of overtime) and everyone would be grateful for it. You can and you will have a drink with her afterwards and all will be forgiven.

Halsin | Safety Coordinator

Obviously, Halsin would be in charge of safety; because film is fun and should remain fun, no matter how serious it is for some: nobody is getting hurt on his watch! 

Intense traumatic scene with an actor? He will be a perfect intimacy coordinator: he knows how to handle personal space and aftercare. Tricky stunt? He’s got a first-aid kit ready (not that you will need it as he made sure all equipment necessary for the stunt are secure). Animal Handling? Yes, he got that covered too, the creatures will be treated as royalty and he can even shape shift to keep them company. Child actor on set? Did he mention he can take care of that too? Beyond all this he will make sure everyone in general is keeping healthy, calling for breaks, making sure everyone has enough to drink and/or eat which he will remind the whole crew to do because they tend to forget.

Minthara | Production Manager

Yes, Minthara has arranged the location, the catering, the shooting authorization and pretty much all the rentals that you need for the day. You better be on time on her set: the call sheet is precise and so should you. She will make sure everything that has been arranged will proceed as expected but should the unexpected occur last minute? Well that’s not a problem because she is cool as ice and can perform under pressure like none. There, she fixed it, and with an hour to spare. After the production, she will chase you and spam 3 reminders a day for you to send your invoice and receipts (she gotta book everything for the accountant!).

Jaheira | Location Manager

Jaheira is the first and the last on set. She gets the keys to places, she relays the instructions on where to find what, what is off limits and what can or cannot be used.  She will make sure everyone parks at the right spots, that people that are outside of sets are not hindered by your crew, and that the place is given back clean (or cleaner even). She is always very sweet to the person in contact, be it the owner of the location you're shooting at, the caterer or curious bystanders who come to investigate. She also keeps an eye on the carpooling schedule. Nobody will be forgotten on her watch.

Minsc | Boom Operator

Minsc is in charge of taking sound. He listens carefully to every take to make sure there are no parasites or interference; if he doubts he will ask Boo to double check for him. He will mic up the actor very gently, giving them funny lines to say to test the mic. He finds it hilarious to call out farts when he hears them in his headphones; he will then ask loudly who it was. Often it is himself.

Tav | Writer/Director

It is their story and you better believe they will see it through. They wrote the damn thing, they gathered the right crew and they will direct it all. They call the shots and make the decisions. At the end of the day they call action and cut. Whether it is a happy or bad ending, the story will have 3 to 5 acts and it will be sent out to all the A list festivals of Toril.

Durge | Director/Producer

It is their story too but they did not write it, however they did make sure it was possible to make it by any means necessary! They are in charge and they even have a cap and a chair to prove it. They had a megaphone too at some point but it was misplaced (stolen by Astarion who got fed up with all the yelling).

The Dead Three | Executive producer

These three are power hungry, ruthless and bloodthirsty, of course they are producers! They know where the money is, they know how to get it, they know who to play and sweet talk to get it. Orin tends to be more artistically involved in the project but Gortash has the people’s touch and will be in charge of handling communication and distribution. Ketheric will make sure the money gets where it needs to go and will be in contact with the subsidies and fundings to provide reports and deliverables.

Withers | Storyboard

It is Tav and Durge’s story but Withers illustrated it. Visualization goes a long way for the whole crew and it is nice to have something to fall back on when the chaos of the shot list overwhelms you. Thanks Boneman!

Do you agree with this? Do you have other characters in mind that could be useful on set?

Did this spark an AU fanfic idea within me? Maybe...

[romchat]

Director Deep Dive: The “Feminine Gaze” of Zeng Qingjie (A Familiar Stranger, Butterflied Lover)

What does it mean to film something through a “feminine gaze”? 

Unsurprisingly, this is a tough question to answer. In filmmaking, the feminine gaze is usually offered as an alternative to the “male gaze” or the ways movies and tv depict women as passive sex objects. Although filmmakers and scholars disagree over the definition and even value of the term, I like to think that, in its most basic form, the feminine gaze is visual storytelling that subverts or redefines how gender looks on screen.

I think one director whose visual storytelling often taps into that feminine gaze is Zeng Qingjie so I thought it would be interesting to discuss some of the stylistic choices that make his work unique.

I first came across Zeng’s work via the short dramas A Familiar Stranger and Butterflied Lover.

What struck me about these two fantasy romances is how different they feel despite having relatively standard plots for their genre. Both dramas are dreamy and refreshingly sensual and intimate. They touch on taboo topics like menstruation, abortion, and the dangers of pregnancy while also quietly challenging traditional gender roles. But most interesting to me is how they center their women protagonists not just in the plot but in the way the camera captures their image. These are women stories and it's evident down to the cinematography.

Style Element: Subjectivity

For instance, Zeng's visual storytelling often uses subjectivity.

Subjective cinematography is when we the viewers see what a character sees or feel what a character feels because of the camera’s position, movement, lenses, etc. It’s considered a critical feature of the feminine gaze because it forces us to recognize the thoughts and feelings of women characters who are often overlooked in traditional media.

Zeng adopts several cinematography techniques to put the audience in the mind of his women protagonists, and together these techniques encourage us to empathize with them, especially in their darkest moments.

One of my favorite examples of this is an early scene of Butterflied Lover.

In the drama, Tang Qianyue, the FL, has been infected by a poison that turns people into monsters known as "butterfly slaves". Qianyue knows she has been infected but to appear normal in front of her loved ones secretly suppresses her monster form. One day, however, she begins turning into a butterfly slave against her will.

As seen above, the scene of her transformation consists of many long shots that showcase the full horror of her monster form.

But the scene ends with a close-up of her face, the camera lingering on the anguish she feels at her body betraying her. Look at how the camera keeps her face in focus but her claws blur with the background, her blood-red eyes hidden in shadow. Zeng wants us to understand how she feels in this moment, not what danger she presents. She might be a monster but we feel pity for her rather than hate or disgust because of the humanizing subjectivity of the camera language.

(Side Note: I don't think it's an accident that most of the infected people shown in their butterfly slave form are women given that monsters in media often symbolize the unknown or uncontrollable elements of the feminine experience. It makes me wonder about the role of female monsters in Chinese myth and whether there are parallels to their patriarchal meaning in Ancient Greek mythology.)

I think another good example of this humanizing camera language is in the sexual assault scene of A Familiar Stranger.

Unlike many shows that depict sexual assault in an erotic way (i.e., filmed to make us sexually excited about a woman’s powerlessness and nakedness), Zeng uses a combination of close-ups, shallow depth of field, and canted angles to make us feel the violation. With the intimate but disorienting effect of these camera techniques, we feel Shi Qi's duress but also clearly see her attacker's abuse of power. We feel what she feels and therefore have a better understanding of what it's like being a woman trying to navigate the world. It’s an awful moment but one that doesn't objectify or visually disempower her as a character.

Style Element: Sexuality and Feminine Desire

(Side Note: Woot woot pregnancy sex)

Zeng also challenges the ways women's bodies are typically objectified on screen by how he portrays his characters' sexuality. In his dramas, women aren't sex objects but instead subjects who experience sexual desire and express their sensuality.

I love the intro of A Familiar Stranger for this very reason.

The show opens with the camera languidly panning across a line of bare legs and scantily clad bodies, their owners posed seductively. It’s a stereotypical example of the male gaze reducing women to their bodies.

But then Zeng's subverts this male gaze when he has one of the women look right into the camera in a subtle fourth wall break.

According to filmmaker-critic Joey Soloway, such moments are an example of "returning the gaze" and are a way for women characters to articulate how they feel about being seen as objects:

"When a female character breaks the fourth wall, they acknowledge the reality that they are being watched and are refusing to remain passive in that. Instead of being gazed upon, they remind us of their agency by directly addressing us and giving us insight into what they’re thinking and what emotions their actions are being motivated by." (Mariel Cipriaso)

Through this technique, we learn that the seductive performance is not for the benefit of some man on screen (or in the audience) but instead themselves. These women, who also happen to be sex workers, are posing for a portrait as a cheeky way to celebrate their own beauty and sensuality divorced from the services they provide male clients (with some sapphic undertones to boot!).

They are in control of the camera not the other way around. 

Ultimately, these are stories where women find pleasure, and the intimacy scenes reflect that.

Everything is softly lit and impressionistically shot as if the characters are lost in the haze of their mutual desire. The use of close-up and extreme close-up shots further play with our senses, giving us the tactile feeling of skin on skin, breath against breath. Unlike stories filmed through the male gaze, Zeng’s camera doesn’t reduce his women characters to body parts and mere receptacles of male desire—they’re active participants who desire and enjoy their partners just as much.

And what I find particularly interesting is that the scenes don’t just “center” these women’s POV but instead show how sex (and touch more broadly) is a vehicle for emotional intimacy and the impact of that intimacy on their male partners. (That hand flex below is giving Mr. Darcy.) Sex and physical intimacy between men and women is transformative not exploitative.

In these two dramas, women aren't objects of desire that men use for their own pleasure but instead subjects who are seen as such by the other characters* and, most importantly, Zeng Qingjie's camera.

(*Side Note: See @well-dressedwords' excellent analysis about the ML in A Familiar Stranger. His intuitive trust towards the FL is an example of seeing her as a subject. He doesn't recognize her for superficial reasons like beauty but her character, which he was able to glean when they first meet and she saves him--hence the title A Familiar Stranger.)

[liquidorcard]

Only tangentially related but your Harley Quinn post made me so glad that whenever I watch any Batman media, it's with my friend who can point out and explain all the references and Easter eggs. He's really excited for the next RPat Batman movie because of the amount of things set up/teased in the first one (I also really appreciate the first film because of the focus on Batman as a detective, rather than the action).

Also only tangentially related, but every day, I'm a little more grateful that The Venture Bros. is a show about a sad old man and his beautiful and horrible boys. There's nothing there to appeal to Lily, I don't have to worry about her half paying attention and giving the worst takes imaginable about my favorite show.

The 2022 Batman movie is my favorite live action theatrical release yet.

I try to not imply that there's one TRUE Batman interpretation since one of the things I adore about Superheros is that, like Greek myths, they've become so ubiquitous they become excellent means to explore concepts and ideas through many different lenses. A sort of conceptual shorthand, if you will.

"The big three" DC heros have been sort of softly canonized in the comics for a while as representing hope (Superman), truth (Wonder Woman), and justice (Batman.) Out of all three of those, justice is the one with the most baggage to it BY FAR.

I understand why people love the Nolan movies-- but I don't. I don't for a lot of reasons. Yes Heath Ledger's performance was incredible, given all the more weight considering what happened to him soon after-- but a trilogy is more than just one legendary performance. More than Nolan's obvious technical skill with the craft of film making. I take issue with a lot of things with the film, but one of the major ones ideologically is how fundamentally uninterested the films are at challenging the idea of justice. It takes it as a given that Batman (as a representation of justice) is good, that justice corrects the fundamental issues it tries to, and you shouldn't question it. You shouldn't look at it too close. More so in the Dark Knight Returns than the other two, but. Christopher Nolan is very much a romantic in his film making-- and if that's your jam, cool. It's not mine.

Tim Burton wasn't overly critical of Batman as a symbol of justice either, but his films operate more on a kind of fable-ish logic and it doesn't bother me nearly as much. He's a more stylistic filmmaker who likes to tell simple stories through mood and atmosphere. I like that about them, but I'd prefer something more psychologically engaging.

The Batman was the first theatrical love action release I felt really took the time to tease out what it really MEANS to be the symbol of justice. It's why Batman's rouges' gallery is so full of more complex, psychologically challenging enemies. It's why so many Batman stories have him sitting and lamenting the choices he's made. Why he's the darkest superhero archetype. There should be something . . . Disturbing about him. Like, you're unsure if he's really a hero at all sometimes. That possibility that this is all a big cope should be this miasma that flavors all his actions. To me, that's the good shit.

Also, I'm fucking ADORING The Peguin show. Hilarious Lorch was bitching about writers drawing from "the same four comics" with Batman when I think this is the first time we've seen even a loose adaptation of The Long Halloween, outside of the video games taking some mild inspiration from it. It's not really the sort of content you could put in a kid's show outside of a wink and a nod.

Not to be horny on main, but Cristin Milioti is CAUSING ME SOME FEELINGS as Sophia Falcone.

(Oh yeah I suppose Gotham kinda sort of did Long Halloween too. So much insane shit happened in that show I completely forgot about it.)

[betterbemeta]

As it is right now, machine learning image generation is classist. It depends strongly on the human audience's eye for pareidolia to smooth over its inconsistencies and find patterns in its noise where its procedural generation falls short.

This means that the less opportunity a person has to gain context for information, the more likely 'AI art' is to be convincing. As long as that person has been given a baseline to 'believe' the general arrangement of elements, AI art will 'make sense' even if that baseline is just exposure to more acontextual imagery. Which is what the machine learning's algorithms were trained on in the first place.

For example, 'AI' right now struggles to coherently depict plants. When it's not blurry, indistinct plant fur, leaves from different kinds of plants appear on the same stem, plants from the wrong biome are included in 'nature' images. Someone who has very little educational opportunity, but has seen movies where people walk through jungles or forests as set pieces or something, might not notice the difference. And why do you 'need' to know if the plants look right, poor person; you'll never leave your immediate area or take a biology class!

Someone without the opportunity or comfort to travel might not recognize that a cityscape has been artificially generated, depicts no actual real-world city. Is that supposed picture of Dubai or New York City or Cairo showing a real place that exists? Who cares, you're too poor to ever go there.

Searching for information about animal species, even, can get messed up by generated 'content.' Do servals have ear tufts? What kind of insect is that? What species of lizard or snake am I looking at? You don't deserve to know what kinds of animals are real. What time do you have to go to a zoo, if there's even one around you?

The less money you have, the more likely you are to be surrounded by advertising and "AI Art" is ideal for advertising because it only tells a very simple story at best. There's no complicated human emotions; its literally made of averages of what has been seen before. Marketing and advertising content often replaces actual art that might be a window into a greater world. It may even just be dropped in there to fill the awkward silence or blankness that would have otherwise surrounded marketing efforts-- commercials would be surreal without some say-nothing 'music' track behind them, and billboards would be creepy without the graphic noise that surrounds the product and its information. Someone who passes through more monetized public spaces per day will see more of it than someone who inhabits private property.

And like, at the end of the day if you are wealthy... you probably don't care about any of this. You have access to whatever you want, so why do you care what's real? You trust you can 'pay for' the real thing, right?

Plus, who knows the economic status of who generated imagery the machine learning algorithms train on? It's all stolen.

Photography has been critical in modern history for bringing 'the world' across social divisions of class, race, geographical divides. Photographers and filmmakers, along with other visual artists as well as musicians, writers, and journalists associated with all of these disciplines give us lenses, framing, voices, and perspectives to understand our greater world no matter where we are. Hell, identifying the human intentions BEHIND those lenses, framings, voices is key to our development. No matter your circumstances, with a strong grasp of media literacy anyone can sit down and say, wait a minute, is this real, would it be true for me too? Or is this someone's point of view?

To the point of view of wealth and capital, the working class and those without wealth who cannot work (disabled people, displaced people, homeless people shut out of employment, and more) do not deserve to know about reality. To that point of view, nonwealthy people don't deserve to even know who created the perspectives they're allowed to see. You can be born, get trained to work, go to work, come home to the minimum, repeat, and die having seen no images of reality for all they care. They'd like that! How can you dream of something outside the current exploitative structure if you can't even trust you know what plants and animals and cities look like, outside your tiny box?