Featuring Directors Till Miller, Jennifer Yuh Nelson, Patrick Osborne, Emily Dean, Robert Bisi & Andy Lyon, and Voice Actors Emily O’Brien, and Sumalee Montano.
LOVE, DEATH + ROBOTS Vol. 4 Red Carpet Interview The Movie Couple
LOVE, DEATH + ROBOTS VOLUME IV Premiere! Tim Miller, Emily O’Brien, Sumalee Montano, and more! Temple of Geek
LOVE, DEATH + ROBOTS Vol. 4 Premiere: MR. BEAST’s Episode (Snyder Connection & Sonic 4)! Mama’s Geeky
LOVE, DEATH + ROBOTS Season 4 Cast and Creatives on AI & How They’d Expand the Title The Direct Extras
LOVE, DEATH + ROBOTS: Tim Miller & Cast Break Down Epic Volume 4 Episodes Screen Rant Plus
Dinosaur gladiators, messianic cats, string-puppet rock stars, it can only be LOVE DEATH + ROBOTS.
The fourth volume, presented by Tim Miller (Deadpool, Terminator: Dark Fate) and David Fincher (Mindhunter, The Killer), sees Jennifer Yuh Nelson (Kung Fu Panda 2, Kill Team Kill) return as supervising director for ten startling shorts showcasing the series’ signature, award-winning style of bleeding-edge animation, horror, sci-fi and humor. Buckle up.
Among the 10 shorts included in Volume 4 is an episode directed by David Fincher. The second short he has directed after Bad Travelling (Vol. 3) is titled Can’t Stop, and it is a throwback to his early work as a music video director. “A unique take on the Red Hot Chili Peppers’ legendary 2003 performance at Slane Castle, Ireland,” it features the band members as marionette puppets, with animation by Blur Studio.
Other shorts in this Volume directed by returning directors include Spider Rose by Jennifer Yuh Nelson, set in the fantastic cyberpunk universe of Swarm (Vol. 3). Oscar-winning Patrick Osborne directs two episodes: The Other Large Thing, about a cat plotting world domination, and Smart Appliances, Stupid Owners, about household tech that revolts. Tim Miller directs another two episodes: Golgotha, “a rare live-action entry” about “dolphin Jesus”, and The Screaming of the Tyrannosaur, set in an outer space gladiatorial arena where combatants ride genetically modified dinosaurs. And Robert Valley directs 400 Boys, about a post-apocalyptic city where warring gangs follow a bushido-like code of honor.
Dinosaur gladiators, messianic cats, string-puppet rock stars, it can only be Love, Death & Robots.
The fourth volume, presented by Tim Miller (Deadpool, Terminator: Dark Fate) and David Fincher (Mindhunter, The Killer), sees Jennifer Yuh Nelson (Kung Fu Panda 2, Kill Team Kill) return as supervising director for ten startling shorts showcasing the series’ signature, award-winning style of bleeding-edge animation, horror, sci-fi and humor. Buckle up.
Click in the gallery below to view five brand-new stills:
Inside the world of amateur 35mm scans and why they can’t be trusted.
Timestamps:
00:00: SE7EN’s Many Versions 01:43: What are 35mm Print Scans? 03:49: The Problems with 35mm Scans 04:23: Print Inconsistencies 07:56: Degradation 11:10: Scanning & Editing Bias 13:59: Final Thoughts
This is a cinematography experiment for fun and education. To explore Macro techniques, we recreate David Fincher‘s iconic MINDHUNTER title sequence and, of course, we give it our very own twist.
We also test & review the new Laowa Sword cine macro lenses. Macro Lenses open a whole world of technical possibilities and perspectives that are impossible to achieve with normal lenses. Macro and extreme close-ups can play an important role in cinematic storytelling, product videography, Stop-Motion work, and practical effects.
Then, we take you behind the scenes and show you how the different scenes were set up and lit. The LAOWA Sword macro cine lenses cover full frame and offer a wide range of focal lengths starting from 15mm all the way up to 180mm. We give you test shots and talk about our experience.
00:00: Intro & Contents 02:23: Extreme close ups in cinema 04:02: What is a Cine Macro Lens 07:52: Laowa Sword introduction 13:20: Laowa Sword Lens Test 18:15: Reimagining the Mindhunter titles 22:10: MACROHUNTER 25:48: Making of & Tutorial 29:10: Staging Marie – Skull shots tutorial 32:12: The Verdict 34:19: Laowa Aurogon introduction 37:19: Thank You
Here is our short with all MACROHUNTER sequences next to behind-the-scenes.
Disclaimer: we collaborated with LAOWA to bring you this episode. As always, we strive to give you our honest opinion based on our experience and our tests. If you are interested in buying the LAOWA Sword, please consider our affiliate link. It doesn’t cost you a dime more, but we get a little for the tip jar. Thanks a lot!
David Fincher’s glorious, mysterious, spectacular Fight Club has just turned 25! A new VFX Notes episode with Hugo Guerra and Ian Failes looks back at the film, and breaks down the incredible, invisible visual effects work.
We dive deep into the photogrammetry side of things from BUF, and look at the variety of work from Digital Domain, the penguin from Blue Sky (!), plus VFX from other vendors. It was an extraordinary achievement from visual effects designer Kevin Tod Haug to oversee this work.
Check out the video below which includes a whole range of behind the scenes and VFX breakdowns.
Chapters: 00:00:00: Intro 00:00:40: A word from our sponsors 00:01:50: The podcast begins 00:04:52: Our first viewing of FIGHT CLUB 00:11:56: The DVD is like film school 00:28:47: Jeff Cronenweth and the visual style 00:37:23: The manny takes of Fincher 00:41:27: Kevin Tod Haug’s amazing work 00:43:20: It would be nominated if it was today 00:45:24: Shaders and radiosity 00:48:03: Photogrammetry and BUF 00:53:07: Previz 00:57:08: The virtual camera moves like the kitchen scenes 01:00:45: BUF VFX and the sex shots 01:06:19: The age of CG tests 01:09:48: The plane crash 01:13:48: High rise collapse 01:21:49: Having fewer artists for a longer time 01:23:49: Peter Ramnsey’s animatics 01:24:23: The cave animal 01:27:08: One of the first behind the scenes featuring HDR spheres and grey balls 01:31:03: The Titanic breath leftovers 01:33:15: The gunshot 01:37:14: The Furni shot 01:39:44: The opening credits 01:45:43: Meat Loaf’s Fat Suit 01:50:00: Members and Patreon credits
Watch the “age-restricted” Fight Club VFX breakdown by BUF: YouTube BUF.com
Frame & Reference is a conversation between Cinematographers hosted by Kenny McMillan. Each episode dives into the respective DP’s current and past work, as well as what influences and inspires them. These discussions are an entertaining and informative look into the world of making films through the lens of the people who shoot them.
Igor Martinovic (Man on Wire, House of Cards: S02, The Night Of) and Vanja Černjul (Orange Is the New Black: S01, Marco Polo, Crazy Rich Asians), who grew up together in Croatia, talk about their experiences working with David Fincher in House of Cards: S02 (Igor), shooting a big production like House of the Dragon (Vanja), and making together the documentary Jim Henson: Idea Man directed by Ron Howard.
Let’s get into how Erik Messerschmidt does what he does, by unpacking his thoughts and philosophy on photography and looking at what gear he chooses in this episode of Cinematography Style.
00:00: Introduction 01:04: Background 02:06: Visual Language & References 03:44: Perspective & Camera Movement 05:40: Post Production 07:15: Lenses 09:05: Cameras 10:51: Grips 11:33: Lighting 12:28: MUBI
Music: Ottom – ‘Hold On’ Stephen Keech – ‘Grand Design’ Nuer Self – ‘Dawn’ Liquid Memoirs – ‘Distant Dream’ Joley – ‘Night Stroll’ I Am Alex – ‘Bonfire’ The Soundkeeper – ‘The View From The Attic Window’ Sero – ‘Mid August’ Chill Winston – ‘The Truth’
DISCLAIMER: Some links in this description are affiliate links. If you purchase a product or service with these links I may receive a small commission without an additional charge to you. Thank you for supporting my channel so I can continue to provide you with free videos!
With The Killer, David Fincher created a masterpiece of cinematic storytelling.
In the first act – the Paris hit – Fincher and his team combined three sets in post. They also added typical artifacts like horizontal flares and distortions to give The Killer an anamorphic vibe.
To learn and explore, we set out to recreate the climax of the first act of The Killer, BUT to do it for real: One real location and real anamorphic lenses. We even developed a way to do film through a real rifle scope – anamorphic of course.
This was possible as DZO just introduced three new focal lengths to their awesome PAVO lineup of 2x anamorphic lenses, a 135mm, a 180mm, and a 65mm Macro. This new focal length and the general short minimum focus distance of the PAVO made them the ideal companions to shoot our short.
We take you behind the scenes, share our experiences with you, and, of course, show you the result: “The Killers” gives the original a slightly different spin…
Disclaimer: We collaborated with DZOfilm and got the full PAVO set of 9 lenses to shoot our short. As always, we strive to give you our honest opinion based on our experience and tests.
00:00: Intro & Contents 02:48: The Killer / A Cinematic Masterpiece 03:44: Subjective Camera Movement 05:00: Subjective Sound Design 05:41: Subjective Edit 06:25: Paris: A Real Fake Location 10:08: Faking the Anamorphic Look| 12:14: Reimagining The Killer 15:49: Gear: The Lenses 23:18: The Rifle Scope 25:01: Gear: The Cameras 27:45: Feature: The Killers 31:08: A Second Killer & Verdict 33:16: Thank You 34:02: Member Shout Out
Kevin Spacey is a two-time Oscar-winning actor, who starred in Se7en, The Usual Suspects, American Beauty, and House of Cards, creating haunting performances of characters who often embody the dark side of human nature.
The Fincher Analyst 