In this indispensable guide to digital film-making, leading film-maker, Mike Figgis, offers the reader a step-by-step tutorial in how to use digital technology so as. Mike FiggisIn this indispensable guide, leading director Mike Figgis a step-by- step tutorial in how to use digital filmmaking technology so as. In this indispensable guide, Academy Award nominee Mike Figgis offers the reader a step-by-step tutorial in how to use digital filmmaking.
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Digital Filmmaking by Mike Figgis. Now there is no reason to prevent anybody from making a film. The technology exists, the equipment is much cheaper than it was, the post-production facilities are on a laptop computer, the entire equipment to make a film can go in a couple of cases and be carried as hand luggage on a plane. He outlines the equipment and its uses, and provides an authoritative guide to the shooting process—from working with actors to lighting, framing, and camera movement.
He dispenses further wisdom on the editing process and the use of sound and music, all while establishing a sound aesthetic basis for the digital format. Offering everything that you could wish to know on the subject, this is a handbook that will become an essential backpocket eference for the fgigis film enthusiast—whether your goal is to make no-budget movies or simply to put your video camera to more use than just holidays and weddings.
Paperbackpages. Published April 17th by Farrar, Straus and Giroux. To see what your friends thought of this book, please sign up. To ask other readers questions about Digital Filmmakingplease sign up.
Lists with This Book. This book filmaking not yet featured on Listopia. Jul 28, Toby rated it diigtal was amazing Shelves: View all 4 comments.
Mar 04, Luke rated it really liked it Recommends it for: I picked this book up to learn about mime films on digital video. I knew very little about the topic and didn’t know how much I would get from this book. Happily, I learned quite a bit from this slim less than pgs book and gilmmaking learned what else I needed to learn!
This is not a nuts-and-bolts guide to making a digital film. It won’t explain precisely how to edit films figfis Final Cut Pro or how to make sure that your aperture is set to precisely the right level.
But it will help you gain con I picked this book up to learn about making films on digital video. But it will help you gain confidence in your abilities and give you some very useful advice from a director who definitely knows what he’s doing. He was one of the early directors to embrace the freedoms of DV while most directors were scoffing at it’s limitations. In this book, he doesn’t assume that you know a lot about filmmaking, but I imagine that a seasoned director would still find quite a bit to learn in this book.
He gives practical, simple advice “You figgos light a scene with the light from a cell phone if you need to” to advice on complicated and delicate situations How to make sure that you retain creative control of your project. Thank you for taking the time to read my review! Aug 23, Bakunin rated it liked it.
Video making: Mike Figgis on digital film-making | Life and style | The Guardian
Filmmaker Mike Figgis describes how his own development as a filmmaker and gives some advice to young directors. I initially thought that this book was meant to be a direct introduction to the art of filmmaking, and was therefore disappointed in the beginning.
Despite this however I learned quite a bit from Figgis and will heed his advice when making my own short films. Jan 15, Fuzzy Gerdes nike it it was amazing. I’ve been intrigued by Mike Figgis since we saw Time Code during the rehearsals for A Day in the Life — it’s a flawed movie, but an incredibly interesting idea.
And Leaving Las Vegas was gut-wrenchingly good, so I knew he had chops.
So I was looking forward to reading Digital Filmmaking. And indeed there’s some practical advice here and some broad opinions about the future of film and the possibilities of cheap filmmaking. But most importantly, it had me itching to muke my hands on my camera I’ve been intrigued by Mike Figgis since we saw Time Code during the rehearsals for A Day in the Life — it’s a flawed movie, but an incredibly interesting idea.
But most importantly, it had me itching to get my hands on my camera and get filming. Nov 13, Eleftheria rated it did not like it Recommended to Eleftheria by: This book is an introduction to filmmaking for non experienced,amateurs or wanna be film makers. Any filmmking who has had some or even little experience in film making will not find this interesting or handy whatsoever.
Nevertheless, is a good reminder of those things one tends to forget while filming – could work perfectly as a reminder list -and of the i massive and cheap tools digital era offers. Mar 16, Laura Cavendish rated it it was amazing Recommends it for: Anyone interested in film at a beginners level. An extremely inspiring book for anyone who is interested in making films because they have something to say, not because they want big bucks.
Has great reinforcement for people whom can’t afford to run a large production, lets you know that you can still succeed. Sep 27, Caitlin rated it really liked it Shelves: Picking up lots of useful advice from this, but Mike Figgis is a self-centred cocky mofo and it just screams off the page.
Jun 20, Mun85 rated it liked it. Good insight from Director although a digitla bit black or white opinionated.
Jan 16, PJ rated it really liked it.
‘Treat your camera with love and respect’
I learnt that there is more than one cover for this book, and that the Fig Rig is cool. Jan 07, Dave marked it as to-read. My friend Rob gave this to me for xmas. That was very kind miks him.
An important and invaluable text for any aspiring filmmmaker. Jul 22, Annabel rated it it was amazing Recommends it figggis So far so good! Dec 01, K. Figgis makes filmmaking seem graspable, all you need is time and drive. Raul rated it really liked it Feb 05, David rated it really liked it Apr 08, Gautham rated it really liked it Sep 07, Rob Shaw rated it really liked it Nov 29, Stephen rated it it was amazing May 30, Peter rated it it was amazing Mar 14, Anna rated it liked it Oct 31, Abhishek Kar rated it it was amazing Jan 12, Crawford rated it liked it Nov 18, Isaak Berliner rated it really liked it Jul 29, Loukianos rated it it was amazing Jan 07, Greg Preece rated it liked it Nov 03, Jimmy P rated it really liked it May 27, Colleen rated it really liked it Mime 02, Henk-jan rated it really liked it Aug 28, There are no discussion topics on this book yet.
With his roots in experimental theater and music, digitql is perhaps surprising that Kenyan-born writer-director Mike Figgis started out as such a conventional mikee, but his dissatisfaction with the Hollywood studio system eventually led to his true calling as one of the most innovative auteurs working in contemporary cinema.
After studying music in London, he became a member of Gas Board, an Engl With his roots in experimental theater and music, it is perhaps surprising that Kenyan-born writer-director Mike Dkgital started out as such a diyital filmmaker, but his dissatisfaction with the Hollywood studio system eventually led to his true calling as one of the most innovative auteurs working in contemporary cinema.
After studying music in London, he became a member of Gas Board, an English rhythm-and-blues band which also featured a pre-fame Bryan Ferryand later went on tour for nearly a decade with an experimental theater group The People Show first as a musician, then also as an actor. Undaunted by figvis unsuccessful application to London’s National Film School, Figgis began writing and directing his own stage productions, visually striking works like “Redheugh”, “Slow Fade” and “Animals of the City”, which combined music with filmed segments and live performance.
He developed “Slow Fade” into a one-hour piece “The House” for Britain’s Channel 4, capturing the attention of producer David Puttnam, for whom he wrote a treatment filmmakinf would become his feature writing-directing debut, “Stormy Monday” “.
Although Puttnam would pass on the project, Figgis did finally get miks for his tale set in the seamy world of Newcastle jazz clubs. The atmospheric homage to Hollywood film noir featured a score by the director, who also persuaded B.
King to record the title track, a filmnaking first for the great bluesman. His impressive American debut, “Internal Affairs”was a striking portrait of police corruption featuring powerhouse performances by a creepy silver-haired Richard Gere and a seething Andy Garcia. The studio demanded control over the music and chose two composers to help execute Figgis’ vision, digtal though he had already done a temporary track to accompany the figgiz.
His follow up, “Liebestraum”made precious little sense–something about a year-old sex scandal, corruption, and family madness–but had style to spare, and with Brit backing, he was able to write his own score, a more or less “wall-to-wall” affair, often almost inaudible but always a presence. Figgis then tangled with the studio and producers who insisted that “Mr. Jones”a change-of-pace romance with Gere as a manic depressive charmer who gets involved with his psychiatrist Lena Olinbe more upbeat.
The actors and director took virtually idgital money, and Figgis began his love affair with the cheaper, grittier, “more impressionistic” Super 16 film later blown up to 35 mm normally used in documentaries, perfectly capturing the seamy trappings of the powerful love story. He also composed the score, and Sting, who had starred in “Stormy Monday”, volunteered to sing on the soundtrack.
When the movie opened, he had no expectations for commercial success, but “Leaving Las Vegas” became a critical darling, earning him the best reviews of his career as well as fipmmaking Oscar nominations for Best Director and Best Adapted Screenplay.