This week on Cinematic Immunity we discuss the world of post production effects with Nuke Compositor, Evan Langley. This is a show where we dig into the nitty gritty of how to work in the business as a compositor, what the responsibilities actually include, and how to keep up with the scale of VFX when a movie can have 1000 names in the post production credit sequence and still come out on schedule by sourcing the work out worldwide.
Picking up where we left off, we dig into the gritty detail of visual effects in the entertainment industry with Visual Effects Director of Photography Mark Weingartner. In this part of the conversation, we talk about the aesthetic of visual effects and how the audience reaction has changed over the years. We discuss the difference between special effects, visual effects and how they have advanced to where they are now. Mark explains the the ACES color correction system in detail and we also talk in depth about his work shooting extensive visual effects for some of Hollywood's biggest movies including his work with a custom designed "plate mobile" and more from the "Batman" trilogy.
On this week's show, we air the first half of our interview with Mark Weingartner, Visual Effects Director of Photography, who came down to the studio and took the time to explain some of the most complex visual effects sequences and talk about his experiences that led him to be one of the leading Visual Effects Supervisors in Hollywood. We talk about how to make "grist for the digital mill" and the distinction between visual effects and practical effects and we discovered that sometimes, talking about guilty movie pleasures can be more fun than talking about the big shows as we loop back around three times to Under Siege!
We have all heard the analogy that a director's film is his or her baby. In this episode of Cinematic Immunity, we discuss that analogy as a partnership with the distribution or sales company as a partnership in nature.
"How do we Make Better Movie Babies" is an episode that helps to dispel the myth of feature film distribution and sales market by interviewing 2 experienced distribution agents and 1 sales agent and 1 filmmaker who knows how to make it happen.
Sometimes you find yourself with some fake blood in your mouth and a couple of drinking straws - because that's how you get things done in this business. At least, it is when you're a special effects makeup artist, like this week's Cinematic Immunity guest, David Mendez.
Listen as the multi-talented Mendez brakes down the makeup department for us, with a special focus on special-effects. We talk about the tools of his trade (fake blood and drinking straws are only two of them), the challenges and fun of creating makeup looks for film, his influences, and how Captain Kirk taught him to fight. He also explains how being a U.S. Army Infantryman compares to working on a movie set, and how it has helped his stunt coordinator work.
Here's what it's like to shoot a moving train from a moving helicopter, who wins a budgets-vs.-creative battle in the studio system - or budgets and efficiency vs. safety. The answers to questions like, why are we still waiting to shoot? Why are studios the way they are? What goes into the machinery of studio financing? ...and how Billy knew he had finally made it in the business when no one would sit with him at lunch.
The wait is over! Producer and 3rd-generation movie-maker, Billy Badalato, Jr., stopped by Cinematic Immunity recently to school us on the ins and outs of international and domestic film consulting, the logistics of Navy fighter-jet refueling, and some of the difficulties of using trains, planes and boats in your movie. We discuss what happens when you go to shoot in the middle of nowhere, and how to climb the showbiz ladder from personal assistant to president of a global production and consulting company.
Today on the Cinematic Immunity podcast, we bring you an interview with award-wining cinematographer, David Stump, A.S.C.. Get ready for stories about some of your all-time favorite films! In this episode, we discuss the unforgettable train sequence in Stand By Me, Rambo III's "muscle lighting," Beetlejuice, and Army of Darkness. Plus, we talk about Quantum of Solace and forgetting to steal things, Star Trek: First Contact and Patrick Stuart's eyeball work, and we visit post-apocalyptic Kansas, go for a ride in a certain time-traveling Delorean once more, and Louis loves on David's timely new book, Digital Cinematography: Fundamentals, Tools, Techniques, and Workflows.
Over last thirty-plus years, David Stump has worn many filmmaking hats. He's been a producer, a director, a cinematographer, an author, a visual effects supervisor, an effects cameraman - and he even has an Academy Award for Scientific & Technical Achievement. He's worked on some of the most memorable films from the last three decades, and is generous enough to share his knowledge with the world through his excellent book and insightful articles on filmmaking. Enjoy the interview!
Let us know what you think of Cinematic Immunity! You can leave us a comment in the space below, send us a message through the Get In Touch page, and, of course, follow us on the social media platform of your choice. Catch up on old episodes here, and subscribe to the podcast on iTunes, SoundCloud and Stitcher.
We'll see you back on Thursday for a preview of our next interview: Producer Billy Badalato, Jr.
On this week's episode of Cinematic Immunity, we talk to Dan McMellen, post-production supervisor, editor, director, producer, and all around awesome podcast guest, about how he got his start in the entertainment industry, mastering his craft, and what professionals like himself look for in an assistant. Plus, he separates the fact from the fiction when it comes to editing one oft-maligned programming genre: reality TV shows.
Read more about Dan McMellen here, and be sure to check back next Tuesday for Part 2 of his interview, in which we discuss the equipment and technical know-how essential to the post-production process.
Thanks to David Lawrence's impressive musical pedigree, the successful composer can include "being around Sammy Davis, Jr. and Frank Sinatra" on his list of the many life-altering experiences he had growing up as the son of legendary entertainers, Steve Lawrence & Eydie Gormé.
Lawrence sat down with Cinematic Immunity and discussed his greatest influences, his artistic process, the nuts and bolts of being a film & television composer, working successfully with extreme time-tables, and the creative tug-of-war between directors and studios. From adding hairpins on the strings, to subtracting that repeating drum loop, it's an introduction into a whole new area of the filmmaking process that you won't want to miss!
Special thanks to Pancho Burgos-Goizueta, for his help in welcoming David Lawrence to the Cinematic Immunity podcast!
Did Ken ruin Dennis Miller's movie career? Was Bryan a happiness oasis on 'Olive Juice'? Do Backstreet Boys cause security problems? Did Louis get us that coffee? Is Liz Hurley calling Ken in the W.C. right now? Is structured writing like creative waterboarding? Did we sneak the tag 'boobs' in this post? Who will Ken book next on 'The Tom Green Show'? Will we now do the podcast with 6-packs in hand? Cinematic Immunity!
Steven Poster, the President of the International Cinematographers Guild, represents camera workers and film publicists across the United States. Poster was kind enough to sit down with Cinematic Immunity and share his stories about getting started in filmmaking and working on such films as "Blade Runner" (1982) "Close Encounters of the Third Kind" (1977) and "Donnie Darko" (2001). Hear these stories and more now in our interview with Steven Poster, ASC.
Dean returns in Part II. We discuss the challenges of Roger Rabbit not existing on location, to getting some assistance from the Oval Office to solve pesky gravity problems on a certain spaceship set. In-between, we breakdown some select scenes of the greatest Trilogy ever about a time-traveling teen and his friend the "Doc".
Jurassic Park! Halloween! Big Trouble in Little China!
Acclaimed cinematographer Dean Cundey sat down with Cinematic Immunity for an interview and knocked our socks off. In part one of our two-part discussion, we learn how Cundey got his start in Hollywood, his turning point in film school, and the surprising keys to success that they don't teach in school, such as, "Always try to get someone else to take the blame." He says with a wry smile.
Dean was also kind enough to share his stories of pioneering the use of Steadicam with the multi-talented John Carpenter in "Halloween" (1978), how his innovative, Oscar-nominated work on "Who Framed Roger Rabbit" (1988) paved the way for the groundbreaking visual effects of "Jurassic Park" (1993), how the military precision of the "Jurassic Park" film crew wowed the actual military after Hurricane Iniki hit on their last day of filming, and much more.
We'll see you back next Tuesday, September 16th, 2014, for part two of our interview with the great Dean Cundey, A.S.C..
Listen in as Doug continues to tell his tale of being a 1st AC in New York for more than four decades. You'll learn all about the odd way John Landis likes to start conversations (and what jokes you should never tell in his presence), how hard it is to pull focus on the elusive Robert Redford, the wonderful paychecks from the Brooklyn Bridge, how much fun stunt work can be on films like 'The Hardway,' and how nimble Spike Lee can be when things really start to heat up on-set.
Doug sits down with Cinematic Immunity to talk about growing up on set with his dad and brother, his start in the business as a 1st Assistant Cameraman, shooting documentaries all over the world, and then coming home to New York City to work for the Master of Darkness - cinematographer Gordon Willis - for over ten years. They would go to work for Woody Allen, making six of his classic films. Part 1 of our interview covers the first two decades of Doug's illustrious career. Tune in next week for Part 2 of Doug's interview with Cinematic Immunity for more first-hand stories that you won't hear anywhere else.
Continuing with our New York City podcasts, we got a chance to sit down with Jendra Jarnagin. She is a female cinematographer who worked her way up through the set lighting departement. Jendra lays out some guidelines on how to work as a freelancer, how to make a relationship work when both partners are freelancing and how film festivals can really help your career take off if you know how to network.
The art and craft of movie making; The stories that define it. This is the story of "Wheels" as we are joined by producers and co-directors, Donavon Thomas and Tim Gagliardo. They turned a great script into a finished feature film with little resources and a lot of determination. Congrats fellas for your premier at Newport Beach Film Festival! You deserve it!