Every Frame a Painting

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 video was made by Brian Satterwhite: https://twitter.com/bmsatter Taylor Ramos: https://twitter.com/glassesattached Tony Zhou: https://twitter.com/tonyszhou

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

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

And follow me here: Twitter: https://twitter.com/tonyszhou Facebook: https://www.facebook.com/everyframeapainting 

And follow me here: Twitter: https://twitter.com/tonyszhou Facebook: https://www.facebook.com/everyframeapainting

And follow me here: Twitter: https://twitter.com/tonyszhou Facebook: https://www.facebook.com/everyframeapainting

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

And follow me here: Twitter: https://twitter.com/tonyszhou Facebook: https://www.facebook.com/everyframeapainting

If I didn't get to your question, I'm sorry. Feel free to ask me on Facebook or Twitter. And many thanks to all of you for your continuing support!