Leonardo Verkoelen’s Post

How This Costume Designer Updated Jedi Robes for 'The Acolyte' https://ift.tt/uT5Vh7t We're always excited to see a new Star Wars project—especially when Amandla Stenberg and Lee Jung-jae are involved. How could you not be amped for The Acolyte? And when we get to speak with part of the creative team, like costume wizard Jennifer Bryan, we're even more excited! As we learned speaking with her via Zoom, she comes from the world of contemporary TV with credits like Better Call Saul and Breaking Bad under her belt, and this was an exciting opportunity for her to flex different muscles. We were able to ask about some of the new looks for the Jedi Knights, how she builds world and character through costume, what it's like pitching to Kathleen Kennedy, and more. Let Bryan take you to hyperspace with her interstellar advice! The Acolyte | Official Trailer | Disney+ www.youtube.com Editor's note: The following conversation has been edited for length and clarity. NFS: I am a big Star Wars fan. I don't know if you were when you got this project. Bryan: I was just in the general population of having seen some Star Wars movies. I wasn't a super nerd, but of course I am now. NFS: That's going to be my first question then. This being an established universe, how do you approach the work of designing costumes? Bryan: It's a first for me in terms of doing a project that is worldbuilding from scratch. I was very, very excited. I come from contemporary television. Somebody asked me that, about making that jump from contemporary to fantasy sci-fi, and I told them—costume designers, her toolbox has to be very wide, because you never know what you're going to be presented with as a work challenge. Especially if you've been trained, formally like I have, you need to be able to catch whatever comes at you. I'd always wanted to do worldbuilding sci-fi, deep imagination, and things that you really have to come out from the well of your creativity. And this show provided that for me. NFS: One thing that I noticed immediately was your spin on the Jedi robes. I'd love to hear you talk about how you arrived there and what your process was. Bryan: I started my prep in the States and then eventually went over in June, and I had my first big presentation to Kathleen Kennedy. And when I was doing my research, I thought, "Wow, the colors of the Jedi!" I'm a colorist, that's one of the tools that I rely on heavily when I'm designing regards to what the period is. If I can bring color into it that's appropriate, I'll do that. So I started doing my presentations, and I know the Jedi are already in the iconography of Star Wars, but because the timeline was before, a hundred years, I had a hundred-plus years out. Almost prequel-like. I knew I had some leeway. I took a stab. I thought, "I think the Jedi uniforms and color palette could be a little different, not too far off, but a little different from what we've known." So what I proposed, and Kathleen Kenn...

Behind the Scenes" portrays series of unexplored areas associated with any form of production, an event or creation as a whole. These include the efforts of writers, directors, actors and other crew members necessary for the realisation of a dream. For example, in films, the behind the scenes crew is involved in the planning, painting and creation of set, costume, and lighting and sound effects as well. Planning may be over done such that each and every shot is first sketched and often acted out, something called story boarding. However, chemistry between cast members is crucial as it not only boosts the performances but also creates a good mood on set. Sometimes, inexplicable things occur – technical hitches which may call for the crew to think on their feet and adapt fast. In addition, the organization of the behind scene work is substantial too. Deadlines have to be met, account to be controlled, assets to be used wisely.

The Day After the Oscars: Where is Graphic Design in Cinema? 🏆 With the hangover from the day after the Oscar ceremony, it's worth considering what kind of films have won. Among my favorites is Yorgos Lanthimos' Poor Things, which won 4 statuettes: Best Actress, Best Makeup, Best Costume Design, and Best Production Design. Three of these are clearly a success of design and visuals. One category is missing: graphic design, where the work of Vasilis Marmatakis in poster and credits design, as well as that of the graphic design team for props, is of the same quality as the previous categories. You can read more about graphic design and cinema in my last article written for ADG FAD and FAD #oscars2024 #oscar #winners #awards #festival #cinema #movie #design #graphicdesign #visualdesign #credits #propdesign #film #movies #films

How This Designer Created the Costumes on the Mega-Hit 'Road House' https://ift.tt/bS17HW0 Costume designer Dayna Pink had a lot to contend with on Prime's new film, Road House. The film was a reimagining of an existing universe, 1989's Road House, this time around directed by Doug Liman. She was tasked with dressing a large, diverse cast and coming up with outfits that would reflect the main characters' background in UFC and allow them to have all-out fights. And all the work has paid off, as Road House was just announced as Prime Video's most streamed project to date, with over 50 million streams so far. Jennifer Salke, head of Amazon MGM Studios, said in a statement, “The groundbreaking, successful debut of Road House is a testament to the hard work and commitment from the entire Road House filmmaking team and the film’s cast led by the phenomenal Jake Gyllenhaal.” So we were pretty excited to hop on the phone with Pink and speak about her process on the film, what it takes to design for action, and get her advice on entering the field. Enjoy. Road House - Official Trailer | Prime Video www.youtube.com Editor's note: The following conversation has been edited for length and clarity. No Film School:I'd love to know where you started in terms of your collaboration with Doug Lyman? Dayna Pink: Okay. Well, I met with Doug and I wasn't sure ... Because I've done sequels before, I've done films with the number two in them. And so I wasn't really sure if this was a number two, you know? And when I had a meeting with him, he was like, "Oh no, this is our own movie. We're starting over. This is our thing." We didn't have to go back to something that someone else did, or refer to something, or do something that was a little retro. We got to really start from scratch, which is really cool. And then that way you get to create your own world, which is always really exciting for me. So I started with the idea that we could do whatever we wanted, which was always the most fun. NFS: Mm-hmm. That's great. And then just generally, because costuming is so important to understanding of characters, what's your process for creating character through costume? How do you go about that? Pink: I totally agree that the costume is so important because every single thing that we wear tells us something about ourselves. Where did we get it? What does it mean? Who gave it to us? Where do we buy it? How long have we had it? And it's what you're wearing and how you're wearing it. Is it dirty? Is it wrinkly? Is it buttoned up? Is it easy? Tucked in. Whatever. So everything we wear and how we wear it says something about us. So yeah, everything down to the socks, down to the shoe laces, we choose it all, including background, including extras. We're super particular on what everybody that you see on the screen, that they're dressed the way that goes with the story that we're telling. NFS: Mm-hmm. Do you make boards or what's your actual process? Pink: Y...

Reminder to register for Critical Costume 2024: "Got Fiction? Whatever the Medium: Costume is the Character," will take place from 6-9 March 2024, at the UCLA School of Theater, Film & Television in Los Angeles, California, hosted by the David C. Copley Center for the Study of Costume Design. Critical Costume 2024 explores the role and influence of costume design in motion pictures, television, and live performance, as well as examining the interrelationship between these different areas of costume practice and research. Over 75 international scholars will present their research papers, flash talks and artwork (through a digital exhibition).   Early bird registration is available until January 20, 2024.  Registration includes the opening reception, two full days of conference programming (with catered lunch), and Sketch to Screen, the annual UCLA/David C. Copley Center panel of Oscar-nominated costume designers.  Please register NOW to take advantage of this reduced rate.  ·  Registration fees: $450 (general), $250 (student), January 20, 2024 - March 6, 2024 ·  Early bird registration: $350 (general), $200 (student), by January 20, 2024.  ·  Registration after 20 January is at full rate, with no exceptions.    Register Here: https://lnkd.in/gmPUfmfb   On the registration page, scroll down to the Critical Costume 2024 Conference option and click “View Details” to begin your registration. ·  On the registration page, choose your registration (early bird/student/etc.) and complete the form.  ·  Then at the bottom right corner of the page click “Add to cart.” ·  On the next page, scroll to the bottom of the screen and click “Check out.”  ·  The next page will display your cart. If the registration type is correct, click “Continue.”  ·  This will take you to the secure encrypted payment page where you can finish the transaction. ·  Prefer to pay by bank transfer? Please contact us [email protected]   SCHEDULE  4 - 6 March: Visits to costume houses, museums, and film studios, will be arranged for conference attendees throughout the week. Please let us know if you would like to join. 6 March: Evening, Critical Costume Welcome Reception 7 March: Conference Day One     8 March: Conference Day Two 9 March: Copley Center Sketch to Screen Oscar Panel    Please contact [email protected] with any questions. 

The choice of specific #colors in character costumes and makeup, as well as in set designs, can define not only personalities and emotional states but also the mood of the story. In essence, applying #colorharmony to #cinema is a powerful tool: it tells a story without the need to really use words.

Colour palettes from famous movies Do you think the correct colour palette can set the mood for a movie? This article starts discussing that but if I am being honest just watching through their examples is pretty cool. Maybe these examples might spark some ideas for a project you are currently working on. https://lnkd.in/e9P2paEz

Deadpool & Are Wolverine's Arms CGI? https://ift.tt/bXohKVr As filmmakers, there's nothing more we love to explore than digitally altered aesthetic flourishes. Does Superman have a mustache? Is Sonic goofy? Does Wolverine drop the sleeves to show off his beefy biceps? Orson Welles wants to know, and so do we. If you're keeping up with the Deadpool zeitgeist you might be wondering the same thing we are: are Wolverine's arm's digitally altered in the Deadpool & Wolverine trailer to better suit our expectations of his (sleeveless) superhero costume? That very well might be the case. Regardless if this conspiracy is true, it's worth acknowledging that sometimes, for movie stuff, we have to dedicate a lot of labor to change things that sometimes seem silly in post production. Sometimes, we get so far deep in a project we realize the only way to win the love of our audience is the sweat, blood, tears, and money to digitally alter something we didn't think to consider in pre-production. Watch the video below to see Corridor Crew's own analysis, followed by the Deadpool & Wolverine trailer where he sometimes has sleeves, and sometimes doesn't. And, please, let us know if you think those are Wolverine's real beefy arms or not in the comments. (You can Skip to 8:22 For the Arm Stuff if You Want)  See For Yourself. Tell Us If Those Arms Are Real. via No Film School https://ift.tt/KmVudjN June 21, 2024 at 11:03AM

my concept on the theme of #contraforce for film adaptation, i made several costumes, three sketches of them are just an experiment and one final #conceptart #artwork #movieart

Filmmakers almost never stick to one singular color. Usually, they use groupings of colors in particular ways to create a color palette used throughout their movies. Some use monochromatic color groupings where different hues and saturations of the same color are used to create cohesive color throughout a film or scene. Others may use complementary colors, where colors are paired from opposite ends of the color wheel and be used to create either a sense of balance or a sense of discord within scenes. Still, others may use Analogous (where related colors close to each other on the color wheel are used) or Triadic (all the colors are equal distance away on the color wheel) groups of colors to communicate the overall tone of the film.