Tim Buttner - Multi-Media Expert


Tim is a Multi-Media Expert with skills that span various forms of media. Tim began writing screenplays before he was twelve, completing his first feature-length screenplay at sixteen. He began filming in high school and at seventeen gained experience interning at Edgewood Studios on the set of Zombie Town. Tim continued to study film at Drexel University, establishing himself in the Stereoscopic 3D revolution after attending workshops in New York City with Florian Maier on Stereoscopic Film Production. After graduating from Drexel's Film & Video Program with a Bachelor of Science, and with a Screenwriting & Playwriting Minor, Tim worked for Digital Revolution Studios under Craig Tanner and further worked in stereoscopic 3D. While at Drexel Tim co-founded a company (One Forest Films) with high school friends and for several years helped build the company as CTO, and Chief Web Designer. Tim has been a contributing writer for MarketSaw, and as well selected as a Beta Tester for Blackmagic Design on the URSA Mini 4.6K camera.


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Tim was also a contributing writer to MarketSaw, a 3D blog. Check it out: www.marketsaw.com




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—Favorite Quotes—

"Cinematography, a military art. Prepare a film like a battle." — Robert Bresson

"'Nobody's perfect' is the line that most sums up my work. There is no comedy, no drama about perfect people." — Billy Wilder

"Structure depends on strategy: strategy is determined according to events." — Cao Cao, from Sun Tzu's The Art of War

"I shall hang my 'lecturing' on the same peg with my other failures and follies. It must be a long peg and a strong peg to hold them all." — George Perkins Marsh

"Will the science of the human heart, around which all contemporary art is based, exhaust so completely the writer's powers of imagination that in future the only novels that are written will be chronicles of various events?" — Giovanni Verga

"Train easy, fight hard… and die.
 Train hard, fight easy… and win." — Unknown

 

—Personal Quotes—

"Movies are not watched. They are an encounter with a life's experience not your own."

"I'm well trained in the art of turning shit to gold."

"'My favorite movies are the ones inside my head."

Showdown: Film Noir vs. Western


Updated on November 11, 2007, 10:24 PM - Written by Tim Buttner

 

There are two genres of filmmaking that can be considered completely American. These are the western and the film noir. Although many will argue that film noir is not a genre, but instead a style because of the cinematic techniques it uses. There are several distinct differences between cinematic technique used in the western and that of film noir. A good way to compare would be comparing two of the fundamental movies of the genres, Stagecoach and Double Indemnity.


The way in which the filmmakers used lighting for these two movies are distinct to their genres, but at the same time use the same lighting techniques to convey the same meaning. Film noir is usually characterized by its use of low-key lighting, and Double Indemnity doesn't shy away from this convention. One of the reasons film noir was coined such by the French when they first viewed it after the Second World War was because of it being such dark cinema. The low-key lighting of Double Indemnity adds to the atmosphere that Billy Wilder sought after for the movie. By making the atmosphere dark like the subject matter of a deceitful murder and betrayal from the femme fatale, Wilder managed to put the audience into the mindset necessary for the movie without a single line of dialogue or action from a character. In Stagecoach low-key lighting is used during night scenes to add an element of ominous foreboding, most especially in the shots preceding the final gunfight between The Ringo Kid and Luke Plummer & his cohorts.


For the rest of Stagecoach it is all high key lighting, allowing the audience to see everything in light. Most of the movie takes place during the daylight hours when this is expected, in contrast to Double Indemnity, which mainly takes place at night. In the convention of the western lighting isn't as important to establishing a mood as it is in film noir, but it still has its importance. Allowing the audience to view across the vast open space of the west, they gain a feeling of adventure and bewilderment similar to that felt by the people who ventured into the west during the time represented in the movie.


Two genres that emerged out of America, both unique and similar in their cinematic techniques, but both essential to the continuation of the filmmaking tradition.

 

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