izzyvideo shares 7 basic strategies for working in low light:
Here is a 30 minute documentary on the making of one of the greatest mob movies ever made.
Senior Colorist Andreas Brueckl demonstrates the effort that goes into coloring a quick snippet from a L’Oréal Commercial using Baselight
Video description below
In this breakdown I show some of my techniques that I use for beauty commercials. I recorded the monitor output and edited the 30 min realtime-grading down to this 3 min clip. To be honest, I don’t show to much of the beauty retouching and skin grading. The model has a very nice skin and with the help of Garnier it was not much work for me.
I hope you enjoy the breakdown.
The commercial was shot on a Arri Alexa. I graded it on a Baselight at 1000Volt in Istanbul.
Music: Disclosure – You & Me – Flume Remix (Josh A Remix)
No Small Parts focuses on the life and career of Vincent Schiavelli, known for his roles in One Flew Over the Cuckoo’s Nest, Ghost, Man on the Moon, and countless other films and television shows throughout the 70s, 80s, 90s, and 00s.
What does a black hole look like up close? Filmmakers recruited theoretical physicist Kip Thorne for some help with Christiopher Nolan’s Interstellar
KIP THORNE LOOKS into the black hole he helped create and thinks, “Why, of course. That’s what it would do.” This particular black hole is a simulation of unprecedented accuracy. It appears to spin at nearly the speed of light, dragging bits of the universe along with it. (That’s gravity for you; relativity is superweird.) In theory it was once a star, but instead of fading or exploding, it collapsed like a failed soufflé into a tiny point of inescapable singularity. A glowing ring orbiting the spheroidal maelstrom seems to curve over the top and below the bottom simultaneously.
All this is only natural, because weird things happen near black holes. For example, their gravity is so strong that they bend the fabric of the universe. Einstein explained this: The more massive something is, the more gravity it produces. Objects like stars and black holes do this so powerfully that they actually bend light and pull space and time with it. And it gets weirder: If you were closer to a black hole than I was, our perceptions of space and time would diverge. Relatively speaking, time would seem to be going faster for me.
Wired.com | Read the Full Article
Check out our latest lesson and entry into our Audio Series sponsored by RØDE Microphones:
Sometimes it’s just not possible to get clean dialogue on set – that’s when ADR comes into play. In this lesson we’ll look at the history of ADR or looping and tackle the process of doing ADR or a short film.
This lesson is proudly sponsored by RØDE Microphones:
The other videos in this Series:
The History of Sound at the Movies
The Science and Engineering of Sound
The Basics of Recording Audio for Digital Video
The Fundamentals of Sound in Post Production
Arguing on the internet, everyone’s favorite pastime! But unfortunately, some people don’t do it very well — or at least they could do it better. You owe it to them (and yourself!) to help them out and make their claims and/or arguments less fallacious. In doing so, you’ll increase the quality of discourse between the both of you, perhaps even helping you finally figure out DEEP QUESTIONS like “WHAT IS LOVE” and “WHY IS SRIRACHA SO DANG TASTY.” Educate yourself and your fellow internet commenters in this week’s Idea Channel episode.
This Criterion Collection essay by Matt Zoller Seitz looks at the editing style and playing with time of Bob Fosse’s “All That Jazz”
Many people love playing disturbing horror games like Amnesia, Silent Hill, Resident Evil and Alien – Isolation.
But why do we enjoy being scared? What makes frightening stories, movies and games so exciting. In this episode, we look into the psychological and biological reasons why the horror genre is so appealing to us.
The opening to Bungie’s Destiny takes place where astronauts discover The Traveler, an object that gamers will encounter later as they play. Prologue worked with Bungie to deliver this cinematic and we found out from some of the key team – directors Simon Clowes and Ilya V. Abulkhanov, CG supervisor Lee John Nelson, producer Armando Plata and FX supervisor Alan McKay how they did it – including a surprising practical shot.
Prologue: During the initial discussions with Bungie, they expressed they were looking for a :90-1:20 opening sequence. The sequence had to communicate a present day landing on Mars, which happens to be 500+ years before the setting of the game itself. We were then provided a script from which we were asked to explore the story of the landing and the journey of the astronauts as they seek out a suspicious object hovering above the terrain – The Traveler.
We presented initial storyboards and concept art, along with a written treatment describing how we intended to not only tell the story, but also our stylistic approach to the execution. This was followed by a thorough storyboarding process with our frequent artist, Doug Stambaugh. We drew every key moment in the sequence, which was then divided into scenes and shots. Quickly sketching our ideas provided us a lot of freedom in experimentation with camera angles and composition. Since some elements of the script were revised a few times, we always had the foundation of the resulting animatic created from the drawings to go back to.
FX Guide | Read the Full Article
A study says 30 percent of adults in America get news from the social network – how does this affect the way Journalism is consumed?
Mr. Marra’s team designs the code that drives Facebook’s News Feed — the stream of updates, photographs, videos and stories that users see. He is also fast becoming one of the most influential people in the news business.
Facebook now has a fifth of the world — about 1.3 billion people — logging on at least monthly. It drives up to 20 percent of traffic to news sites, according to figures from the analytics company SimpleReach. On mobile devices, the fastest-growing source of readers, the percentage is even higher, SimpleReach says, and continues to increase.
The social media company is increasingly becoming to the news business what Amazon is to book publishing — a behemoth that provides access to hundreds of millions of consumers and wields enormous power. About 30 percent of adults in the United States get their news on Facebook, according to a study from the Pew Research Center. The fortunes of a news site, in short, can rise or fall depending on how it performs in Facebook’s News Feed.
Though other services, like Twitter and Google News, can also exert a large influence, Facebook is at the forefront of a fundamental change in how people consume journalism. Most readers now come to it not through the print editions of newspapers and magazines or their home pages online, but through social media and search engines driven by an algorithm, a mathematical formula that predicts what users might want to read.
The New York Times | Read the Full Article