Taylor and I are announcing the official end of Every Frame a Painting. Nothing sinister; we just wanted it to end rather than have it continue as some weird zombie version of itself. The existing videos will, of course, stay online. Just nothing new, that’s all.
medium.com/@tonyszhou/postmortem-1b338537fabc The above link is to a Medium post that includes the script to our final unmade video. Anyways, thank you all for watching and supporting all these years. It’s been a blast.
This is a supplement to THE MARVEL SYMPHONIC UNIVERSE. It’s the second of two new videos today. Watch the other video first.
This video was made by Brian Satterwhite: https://twitter.com/bmsatter Taylor Ramos: https://twitter.com/glassesattached Tony Zhou: https://twitter.com/tonyszhou
This is the first of two new videos today. Watch this one first.
Off the top of your head, could you sing the theme from Star Wars? How about James Bond? Or Harry Potter? But here’s the kicker: can you sing any theme from a Marvel film? Despite 13 films and 10 billion dollars at the box office, the Marvel Cinematic Universe lacks a distinctive musical identity or approach. So let’s try to answer the question: what is missing from Marvel music?
This video was made by Brian Satterwhite: https://twitter.com/bmsatter Taylor Ramos: https://twitter.com/glassesattached Tony Zhou: https://twitter.com/tonyszhou
For the past ten years, I’ve been editing professionally. Yet one question always stumps me: “How do you know when to cut?” And I can only answer that it’s very instinctual. On some level, I’m just thinking & feeling my way through the edit. So today, I’d like to describe that process: how does an editor think & feel? Written & edited by Taylor Ramos & Tony Zhou. Follow us through Taylor’s Instagram: https://instagram.com/taylor.ramos/ Taylor’s Twitter: https://twitter.com/glassesattached Tony’s Twitter: https://twitter.com/tonyszhou Tony’s Facebook: https://www.facebook.com/everyframeapainting
How do you film a conversation? Most likely, you’re going to block the actors, set up the camera, and do shot/reverse shot. But where do you put the camera? What lens do you use? And how do you cut back and forth? Today, I consider the Coen brothers — Joel & Ethan — and see how these choices lend a particular feel to their version of shot/reverse shot. This video was co-written with Taylor Ramos. Follow her on: Instagram: https://instagram.com/taylor.ramos/ Twitter: https://twitter.com/glassesattached
How do you emphasize to the audience that something is important? Well, you could always cut to a close-up, but how about something subtler? Today I consider ensemble staging — a style of filmmaking that directs the audience exactly where to look, without ever seeming to do so at all. Eight Ways to Get the Audience to Look at Someone/Something: 1) Let Them Speak 2) Make Them Brighter or Bring Them Closer 3) Let Them Move (Especially Hands or Eyes) 4) Put Them in the Center of Frame 5) Turn Them Towards the Lens 6) Separate Them from the Group 7) Isolate Them by Moving the Camera 8) Have Other People Look at Them
Before Edgar Wright and Wes Anderson, before Chuck Jones and Jackie Chan, there was Buster Keaton, one of the founding fathers of visual comedy. And nearly 100 years after he first appeared onscreen, we’re still learning from him. Today, I’d like to talk about the artistry (and the thinking) behind his gags. Press the CC button to see the names of the films. For educational purposes only. You can donate to support the channel at Patreon: http://www.patreon.com/everyframeapainting And follow me on: Twitter: https://twitter.com/tonyszhou Facebook: https://www.facebook.com/everyframeapainting
Perhaps no other city has been as thoroughly hidden from modern filmmaking as Vancouver, my hometown. Today, it’s the third biggest film production city in North America, behind Los Angeles and New York. And yet for all the movies and TV shows that are shot there, we hardly ever see the city itself. So today, let’s focus less on the movies and more on the city in the background. Press the CC button to see movie names and locations. For educational purposes only. You can donate to support the channel at Patreon: http://www.patreon.com/everyframeapainting This video was co-written with Taylor Ramos. Follow her on: Instagram: https://instagram.com/taylor.ramos/ Tumblr: http://taylorkramos.tumblr.com/ And follow me on: Twitter: https://twitter.com/tonyszhou Facebook: https://www.facebook.com/everyframeapainting
If you grew up watching Looney Tunes, then you know Chuck Jones, one of all-time masters of visual comedy. Normally I would talk about his ingenious framing and timing, but not today. Instead, I’d like to explore the evolution of his sensibilities as an artist.
For educational purposes only. You can donate to support the channel at Patreon: http://www.patreon.com/everyframeapainting
And follow me here: Twitter: https://twitter.com/tonyszhou Facebook: https://www.facebook.com/everyframeapainting
One of the great things about detailed production design is that it pays off in unexpected ways. So today I explore the weird possibilities of that most common of objects: the chair. For educational purposes only. You can donate to support the channel at Patreon: http://www.patreon.com/everyframeapainting And follow me here: Twitter: https://twitter.com/tonyszhou Facebook: https://www.facebook.com/everyframeapainting
What can one detail tell us about a scene? If you’re Lynne Ramsay: absolutely everything. Today I consider the poetic possibilities of cinema and one of our finest contemporary filmmakers.
For educational purposes only. You can donate to support the channel at Patreon: http://www.patreon.com/everyframeapainting
And follow me here: Twitter: https://twitter.com/tonyszhou Facebook: https://www.facebook.com/everyframeapainting
If you want to make video essays, there’s no better film to study than Orson Welles’ 1973 masterpiece, F for Fake. There are a million lessons to take away from it, but today, let’s see what it has to teach us about structure. NO SPOILERS.
For educational purposes only. You can donate to support the channel at Patreon: http://www.patreon.com/everyframeapainting
And follow me here: Twitter: https://twitter.com/tonyszhou Facebook: https://www.facebook.com/everyframeapainting
Can movement tell a story? Sure, if you’re as gifted as Akira Kurosawa. More than any other filmmaker, he had an innate understanding of movement and how to capture it onscreen. Join me today in studying the master, possibly the greatest composer of motion in film history.
For educational purposes only. You can donate to support the channel at Patreon: http://www.patreon.com/everyframeapainting
And follow me here: Twitter: https://twitter.com/tonyszhou Facebook: https://www.facebook.com/everyframeapainting
Two official announcements 1) I will NOT be doing a Wes Anderson video essay. The market is saturated and I have nothing to add. 2) I do NOT take requests for video essay topics. Please stop flooding my inbox.
So since I’m not going to do one, here’s a bunch of Wes Anderson links.
One of the many pleasures of Nicolas Winding Refn’s “Drive” (2011) is that the shots feel both tightly composed and weirdly unpredictable. Even though most of the images follow a simple quadrant system, Refn puts plenty of subtle touches within the frame. Let’s take a look. For educational purposes only. You can donate to support the channel at Patreon: http://www.patreon.com/everyframeapainting And follow me here: Twitter: https://twitter.com/tonyszhou Facebook: https://www.facebook.com/everyframeapainting
One of Akira Kurosawa’s many gifts was staging scenes in ways that were bold, simple and visual. I’m working on a longer essay about him and this piece didn’t make the cut, so here it is as a standalone video. Thanks for watching! For educational purposes only. You can donate to support the channel at Patreon: http://www.patreon.com/everyframeapainting
And follow me here: Twitter: https://twitter.com/tonyszhou Facebook: https://www.facebook.com/everyframeapainting
