Kill Bill Vol 1

Just watched Quentin Tarantino's Kill Bill Vol 1. Loved the big fight scene entrance with Lucy Liu and her gang (her expression is so focused and beautifully strong). The slow motion and changing angles, along with the different groupings of characters, driven by the soundtrack, really give an impression of power and prestige. Here's the clip:



I also really appreciated QT's final fight scene in the snow room. The stark white contrast of Liu's traditional kimono to Uma's yellow biker outfit, along with the beautifully done slow motion wide shots with swirling snow, where masterful. Once again, the sound design enhances the scene. Here's the clip:

Some Experiences Follow You Home

I love the child-like quality of this new commercial for the Monterey Bay Aquarium, which is by far one of my kids favorite places to visit.



It was created by guys who worked on Star Wars and Pirates of the Caribbean. They sure know what they're doing.

iPhone Storyboard a Hit

Well, I was able to test out the iPhone as storyboard conveyor during my vacation (just got back last Tuesday and am still catching up). I showed my brother the rough storyboard synced to his band's song Roadkill to demonstrate my idea. He definitely could see for himself the direction I was heading and liked the concept.

I'll definitely be using my iPhone more for this sort of thing in the future, especially by adding real photos instead of storyboard sketches.

An iPhone is Worth A 1000 Storyboards

Seeing is believing. That's the gist of Kenn Bell's article iPhone to the Rescue. Some excellent tips on maximizing your time when gathering location shots; giving the client a real sense of progress early on and generating a lot of excitement. I love the way cool devices like the iPhone have pushed the envelope in the arts.

Celtx!

I am so excited to have found Celtx! I was casually looking for a storyboarding program when I stumbled on this open source project. Wow! Talk about features and really tight integration. I know it's going to take my video projects to the next level.

I can already see how it's going to make the Power Cousin video project much more organized. I'll be able to storyboard with notes, clips, and audio, as well as insert location ideas.

So far the download/installation was painless. I've browsed a few sample projects and am now checking out the feature tour to see what it can do.

Ain't Nothing Wrong With That

I love this commercial on the Discovery Channel (the editing and sound design are really tight):



The song is Ain't Nothing Wrong With That by Robert Randolph and the Family Band. Here's the original full length video of the song so you can hear how the commercial used specific parts to sync up with the images from different DC shows:

Virtually Music-Free

I read a fascinating article (Frustrated music lovers have a score to settle by Kevin Cassidy) on the overuse of music in films as a default way of giving a scene that's not working some energy. One editing tip that resonated with me came from veteran composer/editor John Ottman:

When I edit a movie, I edit the film for months without temping it (adding a temporary score). In fact, I get my entire edit together, and there's not a note of music in it because I want to see how much the film can withstand with no music. I only want to score where it's necessary, because why gild the lily?

I love that idea! I find it's way too easy to let music take over a scene. Better to let the scene stand on its own and add a cue only if it really improves the scene.

Sound designer Craig Berkey also points out that there are a lot more tools than just music; it's just that they aren't as well known. As the article mentions:

Berkey's meticulously crafted sonic effects in No Country for Old Men are so key to the film's sparse, elegiac tone that the ingenious interplay of seemingly mundane sounds -- a soft desert wind, boots on gravel, a shriveled candy wrapper crackling with dread as it slowly expands -- take on a musical effect all their own.