Stephen Dakis’ Post

BIGGEST BLUNDER in the history of HOLLYWOOD 🤯You don't know this. 😎One of the lesser-known but fascinating incidents in video editing history involves the film "Blade Runner" (1982) directed by Ridley Scott. During the production of the film, there was a mix-up in the editing room that led to what is now known as the "Workprint Version" of the film. 🙄Here’s the backstory: After completing principal photography, Ridley Scott and his team were assembling the final cut of "Blade Runner." However, due to a miscommunication, the editors ended up working with an early "workprint" version of the film that was not intended for public viewing. This workprint included different scenes, alternate takes, and even temporary music tracks that were not meant to be part of the final product. 😍What makes this incident so remarkable is that this workprint version of "Blade Runner" accidentally got screened for a few audience tests and a couple of film festivals before the mistake was discovered. These screenings created a lot of confusion among viewers and critics, as they were watching a version of the film that was significantly different from what Ridley Scott had intended for the final release. 🤐Eventually, Ridley Scott and his team corrected the mistake and released the official theatrical version of "Blade Runner." However, this incident highlighted the vulnerability in the editing and post-production process of films, where even a small mistake can lead to unintended versions of a film being seen by audiences. ‣Repost and tag you Hollywood Fans. ‣Comment section is all yours.

BASED ON A TRUE STORY.

I got tired of waiting. Let’s talk about feature films journeys from those filmmakers who’s end goals have always been creating feature films. (this is just my take on it and I’d appreciate all the feedback and other experiences immensely, I only come here to learn😄) Since I was 19, working day jobs to pay my bills and not really thinking about how I would economically substain myself in this industry, my only goal was to make films. And I couldn’t get away of long formats. Once I immerse myself in a world I want to spend as much time as I can in there. Made 2 feature films not even thinking about distribution (lesson learnt) but luckily they have an audience. At 26 I want to go on my third one. The thing is: I’m tired of waiting. I fell in love with short format during my journey and started making music videos, fashion films, product ads, campaign ads, you name it. Telling short stories became a passion of mine. Today I’m passionate about telling short stories in shorter formats about subjects I find interesting. There was born the idea of ADICTA. It means “female addict” in spanish. I’m addicted to telling stories, to people, to finding more about what’s beneath the surface and taking their image to a different level. Adicta is gonna be my collaborative shelter from now on. Musicians Fashion designers Actors Business and brand owners PEOPLE. I wanna find the truth in their stories, in their souls and tell compelling stories through the beautiful language of cinema. Working with cinematographers, editors, HMU, even community managers, to bring life into social media. Bring something REAL. I want these stories to be spread and shared to each persons community, have an opportunity to Dream. Tell something different. Follow/ support Adicta, they’ll be unique opportunities coming soon, giveaways, opportunities for filmmakers and more. Weather you’re an artist looking to show your identity or a brand looking for your brands identity, we invite you to be part of this community. I love feature films and I’ll continue to make them. Feature films are long projects. There’s a lot of waiting involved. I’m tired of waiting. Let’s make some art. Adicta Productions

PLEASE GIVE A LITTLE LOVE FOR THE WORK I'VE PUT INTO THIS EDITING THESE PROFILES, CAPTURING THE PHOTOS, IDENTIFYING THE ACTORS. IT'S A HUGE AMOUNT OF WORK AND A REALLY INTERESTING DOCUMENT. So, I've spent today editing 1954-1993 from my 200 greatest actors and actresses. Here it is. For the later years the editing has allowed me to make bigger pictures, by getting the wording tighter. For the 1950s conversely I've expanded a couple of profiles. I have already done the profiles for 1920-1953, but want to also edit those. I have not done the profiles for 1994-2019 yet. A* next to the name means they are in as a movie icon not as one of the greatest movie great actors. The top 40 markings are just in draft.

Day Twenty-Two of 31 Days of Summer Movies! For the entirety of August, aka 'the silly season', I will be posting daily movie recommendations from the vault. Today’s movie is… The Dark Knight (2008) Yes, this is most definitely a tentpole summer movie (released in July) but it’s also arguably the greatest ever Batman movie. You are free to comment below. Directed by Christopher Nolan (whatever happened to him?), it's been lavishly praised for its complex storytelling but let's be honest, most people remember it for the late Heath Ledger’s chilling portrayal of the Joker. I was lucky enough to speak to Heath at a press conference, in London, for the movie A Knight’s Tale, and he was an utterly charming human being. His Joker, on the other hand, is twisted brilliance. He was awarded a posthumous Academy Award for Best Supporting Actor, and it’s fitting that the movie has been hailed by many as the greatest comic book movie ever made. The Dark Knight certainly has everything a film like this needs to deliver, from high action sequences to comedic moments, beautiful cinematography and subtle performances. Christian Bale, who is absolutely no slacker, and one of my favourite contemporary actors plays Bruce Wayne, with magnificent support from Michael Caine, Gary Oldman, Morgan Freeman, Maggie Gyllenhaal and Cillian Murphy, as Scarecrow. Definitely worth a revisit, I'd also suggest you take another look at Brokeback Mountain, 10 Things I Hate About You and Monsters Ball, for more of Heath's undeniable celluloid charisma. Engaging copy can captivate your audience and drive results, such as the takeover of Gotham, or the creation of a Batmobile. If you need help creating content that resonates, I’m here to assist. #copywriting #editing #writing #movies #summer #innovation #digitalmarketing

A top cinema is the result of collaboration among various experts. The credit for a good film extends beyond just the director and main actors. Story writers, scriptwriters, cinematographers, editors, and more all contribute significantly. Have you watched the 2010 film "The Social Network"? Written by Aaron Sorkin and directed by David Fincher, the movie portrays Mark Zuckerberg's journey in creating Facebook. In the movie, we see young Zuckerberg engrossed in writing code, although his focus shifts to lawsuits, parties, and distractions. Zuckerberg himself mentioned that the process of building a company isn't glamorous enough for a movie, leading to some embellishments in the film. While artistic license is essential, it's crucial to be sensitive when portraying a public figure on screen. The screenplay by Aaron Sorkin and the direction by David Fincher could have been tighter, with more focus on the coding aspect. For those who appreciate storytelling and character development, "The Social Network" excels in weaving fact and fiction, bringing characters like Mark, Eduardo, and Sean to life while mirroring the era with finesse. #FilmIndustry #TheSocialNetwork #CinematicExcellence (Video-rights belong to the owner)

How Do You Craft a Docuseries With 30 Plus Years of Footage? https://ift.tt/6rPcga1 As any seasoned documentary filmmaker can tell you, sometimes watching through and getting a feel for all of the footage at your disposal (both shot for the production as well as the collected archival library) can be extremely daunting. Most projects have days upon years of material to intimately know and become familiarized with to tell your best story. Some can be 30 plus years of two of the most photographed celebrities in the world. So is the case for Netflix's extremely well made docuseries Beckham, profiling the celebrity footballer through four episodes of dense history and insight into his life today. The series, exquisitely edited by Emmy-award-winning ACE Michael Harte (Three Identical Strangers, Still: A Michael J. Fox Movie), certainly feels crafted by creatives that didn't take any shortcuts crafting a mini series with a lot of heart and dedication to the subject they are profiling. The series is currently nominated for five Emmy awards, including best editing for Harte. We were lucky enough to sit down and talk the shop of the cut with Harte, where he breaks down the importance of obsessive organization, finding your voice as an editor, and so much more. Editor's note: The following quotes from Michael Harte are edited for length and clarity. Michael Harte: From PA to ACE "I was living in Dublin and there was a really strong documentary scene there. I started working with an editor as runner, and he showed up with a Harley Davidson—his name was Bob Caldwell. He was very cool guy and had a house on the beach in Dublin, which is unheard of, and even as an editor. And I was like, well, if I edit, this is what I'll get—a Harley Davidson and a house on the beach. I have neither. And he just let me cut from day one. We got on really well, and he was really encouraging. He had a tiny boutique edit suite and said, it's just me and, and when a project comes in, we're going to share the load, but you'll have to do some of the assistant edit work, but you're going to have to cut too because the industry started to take off. [After working there for a bit I went to London and eventually landed Three Identical Strangers]. That opened a lot of doors for me in terms of work." Define Your Workflow  "It depends on the director and how much work they've done by the time I come on board. With Three identical Strangers, [director] Tim Wardle was very organized before we even started. He knew a lot of the story beats—the story had already happened. So I could focus entirely on the editing on that one. The third act was the only exception, that was unfolding as we were cutting it, so we were trying to find that part of the story. With other projects it can be different. I don't like the word "pre-production" anymore because—sorry to post-production—because a lot of the times you come on board and the production is far from finished...

🔊 Film production is as easy as - Record. Edit. Done. I wish 😏 While that’s certainly the main steps, there's a whole lot more that goes on behind the scenes. I'm not a "turn up on the day" kind of gal. I plan… A LOT…before a shoot but I also build in enough flexibility to adapt to unexpected changes. Here's a glimpse into the reality: 🔥Pre-Production: Scriptwriting, location scouting, casting, and equipment prep. 🔥Production: Set design (furniture arranging!), time schedules, directing, record footage. 🔥Post-Production: Editing, color grading, endless music searching, visual effects, captions and finalising the video. It's a larger process than just Record and Edit but it's what ensures that the final video exceeds expectations. Ready to start planning your video to get your roarsome story told ? DM me with this smug face 😏 and we’ll organise a call to get the ball rolling.

Why Do So Many Filmmakers Use The Color Red? https://ift.tt/MhAjxyz From redrum to the red door knobs Bruce Willis can't open, to the girl in the red coat crossing the ghetto, directors have been loving the color red since the dawn of cinema. But what makes red so popular? Today, we'll go over just that. There are lots of studies that say red stands out amongst other colors and might even get you a speeding ticket, but according to color psychology, there's some deeper stuff at work here. I suppose we can blame The Wizard of Oz for the onset of red in film. In the book, Dorothy's slippers were silver, but the crew wanted the shoes to pop on screen. Since Green and Yellow already had significant roles in the film, they went with ruby slippers. And the rest is history. 'Wizard of Oz'Credit: IMDb Some filmmakers live and die by red, among them is Scorsese. That makes sense since a lot of his movies wind up being bloody messes, but look at shots like this one from The Departed and check out this article we did on his editing. Everything Scorsese does is purposeful, so he's using red in his movies to let you know what's going on within the characters...and sometimes even to show a shade of the devil. 'The Departed'Credit: IMDB But you don't have to be Scorsese to utilize red in your films. and you don't need to use the color to be nefarious either. According to Color Psychology, red has the following associations: Associated with energy, war, danger, strength, power, determination as well as passion, desire, and love. Enhances human metabolism, increases respiration rate, and raises blood pressure. It attracts attention more than any other color, at times signifying danger. As you can see, this covers many needs for a filmmaker to convey tone and ideas. Recently I saw an amazing video from Now You See It that goes super in-depth on the color red in film and television and why it stands out so much. Check it out! What Can Red Give Filmmakers? The color red serves as a versatile tool for filmmakers, allowing them to visually communicate complex emotions, themes, and ideas, while also creating a memorable and impactful cinematic experience. Symbolism and Emotional Impact: Red is often associated with strong emotions such as love, passion, anger, danger, and violence. Its use can quickly and effectively convey these feelings to the audience, adding depth and intensity to a scene. Red can also symbolize important themes like power, sacrifice, or even warning or danger. Visual Impact and Attention: Red stands out against most other colors, instantly drawing the viewer's eye to specific elements within the frame. This can be used to highlight important characters, objects, or actions, guiding the audience's focus. The contrast between red and its complementary color, green, can create a visually striking and dynamic effect. Cultural and Contextual Significance: The meaning of red can vary across cultures...