In September of 2016, the folks over at Every Frame a Painting examined why film scores, particularly the ones heard in the Marvel Universe, don't particularly stand out. The group explored this notion, and brought their findings to the masses by way of an informative video that you can watch here. To be honest, the thought that Marvel's film scores are less than memorable never really occurred... Read More...
- 12/12/2017
- by Steve Seigh
- JoBlo.com
“Thor: Ragnarok” marked a reinvention for the standalone series that rotates around the Norse warrior. Taika Waititi took the stodgy serious tone of “Thor” and “Thor: The Dark World,” and tossed it out the window. In its place, the filmmaker added his skewed brand of humor, brought bursts of color in to replace the blue dark visuals of the preceding movies, and there was one more key ingredient: Mark Mothersbaugh.
Continue reading Mark Mothersbaugh Credits Every Frame A Painting Video For Influencing ‘Thor: Ragnaork’ Score at The Playlist.
Continue reading Mark Mothersbaugh Credits Every Frame A Painting Video For Influencing ‘Thor: Ragnaork’ Score at The Playlist.
- 12/11/2017
- by Kevin Jagernauth
- The Playlist
A channel loved by film buffs has ceased production. Every Frame A Painting, which featured analysis of auteur directors and criticism related to filmmaking techniques, has been officially shuttered by its co-creators more than a year after it post its last video.
The two movie nerds behind Every Frame A Painting, Tony Zhou and Taylor Ramos, announced the shutdown of their channel in a blog post Zhou shared via Medium. While several factors contributed to the channel's demise, the ultimate rationale for its discontinuation is a simple one: Its hosts no longer have the proper passion for their shared project. "In the past year, we’ve both started new jobs and taken on other freelance work," wrote Ramos in the Medium post. "Things started piling up and it took all our energy to get through the work we’d agreed to do. When we started this YouTube project, we gave...
The two movie nerds behind Every Frame A Painting, Tony Zhou and Taylor Ramos, announced the shutdown of their channel in a blog post Zhou shared via Medium. While several factors contributed to the channel's demise, the ultimate rationale for its discontinuation is a simple one: Its hosts no longer have the proper passion for their shared project. "In the past year, we’ve both started new jobs and taken on other freelance work," wrote Ramos in the Medium post. "Things started piling up and it took all our energy to get through the work we’d agreed to do. When we started this YouTube project, we gave...
- 12/4/2017
- by Sam Gutelle
- Tubefilter.com
“Every Frame a Painting,” a YouTube channel which attracted many cinephiles by focusing on the artistry of cinema, has ended. Creator and narrator Tony Zhou, alongside his fellow “Frame” writer and editor Taylor Ramos, published a “Postmortem” for the show on Dec. 2, alongside a script for a never-completed final video which was a thoughtful peek behind the curtain of the artists’ workflow.
“Every Frame a Painting is officially dead. Nothing sinister; we just decided to end it, rather than keep on making stuff. The existing videos will, of course, remain online. But there won’t be any new ones,” reads the introduction to the script.
Near the beginning of the script itself, Ramos outlines why the duo have stopped producing videos. “In the past year, we’ve both started new jobs and taken on other freelance work.
“Every Frame a Painting is officially dead. Nothing sinister; we just decided to end it, rather than keep on making stuff. The existing videos will, of course, remain online. But there won’t be any new ones,” reads the introduction to the script.
Near the beginning of the script itself, Ramos outlines why the duo have stopped producing videos. “In the past year, we’ve both started new jobs and taken on other freelance work.
- 12/3/2017
- by William Earl
- Indiewire
David Fincher is one of the most distinctive visual storytellers working today. On his new Netflix’s show “Mindhunter,” the director’s well-established visual style and use of film language is carried throughout the entire Season 1 arc, despite Fincher having only directed four of the ten episodes himself. IndieWire recently talked the show’s principal cinematographer Erik Messerschmidt – who was once Fincher’s gaffer, and shot 90% of “Mindhunter” – about what defines the cinematic style of the great auteur and how he built off the look of “Zodiac” to create something we aren’t use to seeing on TV.
The Color Palette
The imagery in a Fincher film is grounded in realism, but it’s a dark, stylized realism. This is most notable in the director’s use of colors. “[David] has an aversion to saturated colors and magenta,” said Messerschmidt in an interview. “The show has a desaturated green-yellow look, for sure,...
The Color Palette
The imagery in a Fincher film is grounded in realism, but it’s a dark, stylized realism. This is most notable in the director’s use of colors. “[David] has an aversion to saturated colors and magenta,” said Messerschmidt in an interview. “The show has a desaturated green-yellow look, for sure,...
- 10/19/2017
- by Chris O'Falt
- Indiewire
…Let’s hope the dogs don’t die.
On Tuesday, the first poster for Wes Anderson’s newest feature film since 2014’s The Grand Budapest Hotel was released. Whilst not much is known about the story of Isle of Dogs, its poster reveals small details about what to expect, and, more importantly, the influence of Akira Kurosawa on the stop-motion animation.
Set in Japan, the poster’s large, red font places the Japanese title at the center, with its English translation held within the script. Wes Anderson’s posters usually have either one clear defining image at the forefront or a depiction of the ensemble cast, so Isle of Dogs is a slight departure from what Anderson’s audience are used to.
The poster for The Royal Tenenbaums places family at the center while Anderson’s classic Futura font title stayed beneath the family as something that was not meant to draw attention. Moonrise Kingdom...
On Tuesday, the first poster for Wes Anderson’s newest feature film since 2014’s The Grand Budapest Hotel was released. Whilst not much is known about the story of Isle of Dogs, its poster reveals small details about what to expect, and, more importantly, the influence of Akira Kurosawa on the stop-motion animation.
Set in Japan, the poster’s large, red font places the Japanese title at the center, with its English translation held within the script. Wes Anderson’s posters usually have either one clear defining image at the forefront or a depiction of the ensemble cast, so Isle of Dogs is a slight departure from what Anderson’s audience are used to.
The poster for The Royal Tenenbaums places family at the center while Anderson’s classic Futura font title stayed beneath the family as something that was not meant to draw attention. Moonrise Kingdom...
- 4/26/2017
- by Sinéad McCausland
- FilmSchoolRejects.com
HBO has revealed its new Saturday Night Feature intro, which is set to premiere before this Saturday’s showing of “X-Men: Apocalypse.” The video, which pays homage to the station’s original beloved intro from the 1980s, also skillfully updates it to make it more suitable for the modern home-viewing experience.
Read More: Critics’ Choice TV Awards: HBO Leads With 22 Nominations
The intro, similarly to the original, begins in a comfortable home environment as a couple settling in to watch a movie, then the camera soars across the city to glimpse other homes who are getting ready to do the same. The feel of the original intro is certainly present, but thanks to the always-reliable modernization of technology, this new feature presentation opening is more expansive, and fittingly showcases the variety of ways audiences can now view media from the comforts of their homes.
The sweeping camerawork isn’t the...
Read More: Critics’ Choice TV Awards: HBO Leads With 22 Nominations
The intro, similarly to the original, begins in a comfortable home environment as a couple settling in to watch a movie, then the camera soars across the city to glimpse other homes who are getting ready to do the same. The feel of the original intro is certainly present, but thanks to the always-reliable modernization of technology, this new feature presentation opening is more expansive, and fittingly showcases the variety of ways audiences can now view media from the comforts of their homes.
The sweeping camerawork isn’t the...
- 3/3/2017
- by Michael Gonzalez
- Indiewire
The “Every Frame a Painting” series thrives on analyzing the best in cinema in order to illustrate masterful techniques like the magic of visual comedy, composing movement or the power of editing. Yet the channel’s newest video, released today, goes in a different direction, breaking down “temp music” and how it has taken the magic out of rich film scores, using the generally well-received Marvel Cinematic Universe as an example of what can go wrong.
Read More: ‘Ghostbusters’ Trailer Review: Every Frame A Painting’s Tony Zhou Analyzes Comedy Editing
Temp music, as described in the video, is “when you’re editing a film, and you take music from another movie and use it temporarily in your cut.” Unfortunately, in the competitive blockbuster world, composers are often pressured to create music that mimics the feel of the temp music just within legal limits. Because of this, many scores for...
Read More: ‘Ghostbusters’ Trailer Review: Every Frame A Painting’s Tony Zhou Analyzes Comedy Editing
Temp music, as described in the video, is “when you’re editing a film, and you take music from another movie and use it temporarily in your cut.” Unfortunately, in the competitive blockbuster world, composers are often pressured to create music that mimics the feel of the temp music just within legal limits. Because of this, many scores for...
- 9/12/2016
- by William Earl
- Indiewire
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