Media Teaching Lab / All About Production

Welcome to the University of California San Diego, Media Teaching Lab Tumblr page!

The Media Teaching Lab's Mission is dedicated to providing outstanding facilities, equipment, and technical assistance to UC San Diego undergraduate students enrolled in official media production classes, and graduate students using media in their research.

We are a teaching facility and home to over 800 media students in varying disciplines who attend our educational workshops in camera training, production software education and post-production media management, as well as audio production and all phases of studio filmmaking practices.

The Media Teaching Lab's aim is to facilitate students in making the highest quality videos and films, with excellent sound, editing, and cinematography.

Media Equipment Checkout Facility hours of operation: 8:00 AM to 5:30 PM daily. If you have questions concerning your equipment reservation
please call 858-534-4635

For all other inquires contact
Adriene Hughes 858-534-1175
Mitchell Wright 858-822-7656
Lev Kalman 858-822-1984

You can also email us at
medialab (at) ucsd (dot) edu

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This is the official Tumblr of the Media Teaching Lab located on the campus of the University of California, San Diego.
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Hasselblad 500c Planar 80mm 2.8 Velvia 100F

Tijmen van Dijk

Cybill Shepherd and Martin Scorsese on the set of Taxi Driver, 1975.

(via cinemastatic)

Anjelica Huston and her then boyfriend, Jack Nicholson, at Telluride Film Festival in 1975, when the actor was lauded for “being perfectly attuned to the mystic vibrations of a particular period.”

(via cinemastatic)

Gloria Swanson as Norma Desmond in Sunset Boulevard, 1950.

(via cinemastatic)

High Valyrian, anyone? What the ‘Game of Thrones’ conlangs tell us about language and world-building.  
Later this month, David Peterson leads a workshop in language creation at the first annual Filmatic Festival, an exploration of the future of movies at UC San Diego, the school where he earned his masters in linguistics. Thanks to an introduction by Rebecca Webb ofArtPower!, the campus arts organization that’s sponsoring the festival.
You can read more about the Filmatic Festival and the Peterson workshop HERE!

A 3 minute short about a blind deer named Dillie. It’s a beautiful, short story. Lots of secondary shots that create a feeling and sense of environment.

Tokyo Reverse is a movie with a running time of 9 hours, and it was broadcasted in its entirety on a network in France. As strange as that sounds, the network is known to do things like this, and this clip from the film shows exactly how the entire thing was filmed: with a guy walking backwards.

It’s strange to look at on first glance, but you’ll notice how cleverly put it all really is as the clip goes on. Ludovic Zuili, the man in the video, films himself walking backwards in a way where it’d look like he was walking completely normally if the clip were to be reversed.

This is a technique that’s been used in films before many times, usually when the filmmakers needed an easy way to achieve an effect. There’s a film called Brother From Another Planet in which a man is filmed walking backwards, and then forwarded like this video; the reasoning was because the character in the movie was an alien humanoid, and showing reversed footage of him walking backwards gave the scene a slightly eerie vibe. I’d try finding a video, but there’s none with that scene as far as we’ve looked. The movie is, however, up in the public domain online so go check it out and see if you can spot the scene.

Try looking at this video the same way. Even with how perfectly the man has his backward walk down, his reversed walk still looks slightly off. All in all, this clip is an illusion, and an incredibly cool one at that. Things like the escalator sequence and the selfie he takes with those Tokyo girls are what make this clip both enjoyable and intriguing to watch.

Jim Jarmusch: I’m a big blues and R&B fan. I had never been to New Orleans when I wrote the script, but I had a lot of images in my head mostly just from the music of New Orleans. That just kind of drew me there. […] Shooting it was so much fun. Being in New Orleans was great and we had a really wild time. In retrospect I don’t how we got through it—it seemed as if we had a celebration after each night of shooting and I don’t know physically how we got the film made. I tend to see my films in retrospect like home movies—I don’t see the film any more, but I remember the experience of making it. […] For me, in the end of the film I definitely imagine Zack and Jack, and Roberto and Nicoletta, continuing to exist as characters and I really did not want to draw a velvet curtain across the screen and have everything all finished. I wanted these characters to continue to exist out there in the world somehow. [1994/1992/2002]

Robby Müller: In the beginning I didn’t know what form Down by Law should have. Then I got the most important directing from [Jim] when I asked him what should I do in this story, because I have no idea what style of photography I should give, and he said, “Well, Robby, it’s just a fairy tale.” And it was really the only direction I got and I was very happy with it because it was not precise, in that sense. So I suddenly felt free and could do what I liked and I felt extremely free there—any invention I did would fit into the film… [Jim] is by far the director I most respect of all that I’ve worked for in my life. I feel that he respects everyone around him, including me. [2002]

Claire Denis: When Jim asked me to work with him, I thought it was a joke, because at the time I was off doing location scouting in Cameroon for Chocolat. But Jim was serious. So I flew halfway across the world from Cameroon to New Orleans to work on Down by Law. And there, when I was his AD, he gave me a rabbit’s foot that I kept. I think I did my first film with that rabbit’s foot in my pocket the whole time. And then I lost it when I was in Cannes, and thought, uh-oh, the good luck charm is gone. Maybe I didn’t need it, who knows. […] I think really I was not needed. I think he enjoyed the fact that when he was about to shoot Down by Law, it was like a sort of poetic gesture to decide I was going to be the assistant. I was not even allowed by the union so they changed my name or whatever. But I mean I really worked. I was not just invited to watch shooting. I really enjoy working with him, yeah, very much so. And it’s still strong, because he is—I don’t know—we don’t see each other very often, as you might imagine. But it’s important for me to know that he’s working. His work is important for me. [2003/2004]

Roberto Benigni: I met Jim Jarmusch in Italy. I couldn’t talk one single word in English, and he the same in Italian. So we tried to talk with physical, with the body. We immediately love each other, and Jim decided to write this character Bob in Down by Law. It was my first time in United States, in Louisiana, in the swamp, with the crocodiles. For me it was a dream, this is such a wonderful memory, such a wonderful souvenir. And what it is very rare, I met also Tom Waits and John Lurie, the musician and the singer, and we are still very close friends. Especially with Jim Jarmusch, every week we call each other, we talk. We are still very, very close friends. [2009]

(via bbook)


Jane Fonda in Barbarella

(via bbook)