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DeMille and Billy Wilder on the set of Sunset Blvd | Javier Bardem by Manuel Outumuro | Anna Kendrick by Chris Craymer | Julia Stiles by Steve Shaw | Jessica Chastain by Annie Leibovitz | Ben Stiller by Matt Hoyle | Marilyn Monroe by Ben Ross | Anna Kendrick by John Russo | Donald Sutherland by Robert Mapplethorpe | Alison Brie by Avi Brosh | Diane Kruger by Peter Hapak | Liv Tyler by Michael Thompson. | George Clooney by Andy Gotts | Woody Allen by Platon | Amber Heard by Ellen von Unwerth | Mila Kunis by Michael Thompson | Ingmar Bergman by Charles Azoulay | Mila Kunis by Michael Thompson | Selena Gomez by Dusan Reljin | Vampira by Dennis Stock | Mads Mikkelsen by Carlos Serrao | Greta Garbo by Edward Steichen, 1928 | Kristen Wiig by Carter Smith | Natalie Portman by Frederic Auerbach | Dakota Fanning by Randall Slavin | Marion Cotillard by Mark Squires | Marilyn Monroe by Willy Rizzo | Will Farrell by Mark Seliger | Jimmy Stewart and Alfred Hitchcock during the filming of “The Man Who Knew Too Much” | Audrey Hepburn, Mel Ferrer & Truman Capote in a photobooth | Cameron Diaz by Vincent Peters | Lucy Liu by Antoine Verglas | Ben Affleck by Greg Gorman | Penelope Cruz by Annie Leibovitz | Cameron Diaz by Camilla Akrans | Tim Burton, Albert Finney and Jessica Lange on the set of Big Fish | Marilyn Monroe by Philippe Halsman | Gary Oldman by Nigel Parry | Tom Hanks by Andy Gotts | Alice Cooper & Salvador Dali | Isabella Rossellini by Helmut Newton | Stanley Kubrick & Malcolm McDowell on the set of A Clockwork Orange | Anne Hathaway by Ruven Afanador | Jessica Alba by Greg Lotus | Paul and Stella McCartney by Harry Benson | Salvador Dali on the set of Spellbound directed by Alfred Hitchcock, 1945 | Marilyn Monroe by Ted Baron | Marilyn Monroe by Cecil Beaton | Matthew McConaughey by Luke Fontana | On the set of Planet Of The Apes - 1968 | Jessica Alba by Greg Lotus | Uma Thurman and Quentin Tarantino on the set Pulp Fiction | Denzel Washington by Annie Leibovitz | Martin Scorsese by Patrick Swirc | R2-D2 by Annie Leibovitz | Anna Kendrick by Carter Smith | Helena Bonham Carter by Greg Williams | Jack Nicholson by Annie Leibovitz | Kate Winslet by Daniel Jackson | Scarlett Johansson by Sheryl Nields | Marion Cotillard by Mark Seliger | Joseph Gordon-Levitt by Christian Witkin | Julianne Moore by Ruven Afanador | Chaka Khan by Christian Witkin | Laura Prepon by Ruven Afanador | Sean Connery by Anne Leibovitz | Angelina Jolie by Frank Ockenfels | Kirsten Dunst by Cliff Watts | Emily Blunt by John Phillips | Jeremy Irons by Simon Emmett | Helena Bonham-Carter by Andy Gotts | 3 Stooges, Clark Gable and Ted Healy | Katharine Hepburn by Ernest Bachrach 1932 | Christopher Walken by Mary Ellen Matthews | Monica Bellucci by Helmut Newton | Sharon Stone by Steve Sands | Tom Hardy by Sarah J. 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Ockenfels | Kate Upton by Mario Testino | Orson Welles by Douglas Kirkland | Christina Ricci by Mary Ellen Mark | Kate Winslet by Daniel Jackson | Zoe Saldana by Jill Greenberg | Sylvester Stallone, Djimon Hounsou, Forest Whitaker, Robert Downey Jr., Jessica Biel, and Tobey Maguire by Annie Leibovitz | Anne Hathaway by Marc Hom | Eva Green by Ellen von Unwerth | Eva Green by Paolo Roversi | Hugh Laurie by Robert Trachtenberg | Marilyn Monroe by Ernest Bachrach | Marion Cotillard by Eliott Bliss | Jodie Foster by Helmut Newton | Sofia Coppola by Jean-Baptiste Mondino | Tom Hiddleston by Max Vadukul | Ian McKellen and Patrick Stewart by Luke Fontana | Alfred Hitchcock directs Frenzy, 1971 | Scarlett Johansson by Craig McDean | Salma Hayek by Mark Anderson | Christian Slater by Murdo Macleod | Famke Janssen by David Needleman | Keira Knightley by Donald McPherson | Anna Kendrick by Eric Ogden | Drew Barrymore by Craig de Cristo | Keira Knightley by Emily Hope | Marilyn Monroe by Alfred Eisenstaedt | Fred Astaire and his dancing shoes. | A Young Girl plays in a Replica of a Lunar-module in Toronto, Canada, August 1975 by Robert Madden | Uma Thurman by Michel Comte | Natalie Portman by Mert and Marcus | Julianne Moore by Annie Leibovitz | David Lynch by Krijn van Noordwijk | Amy Adams by Marc Hom | Angelina Jolie by Marc Hom | Matthew McConaughey by Marc Hom | Anna Kendrick by Eric Ogden | Leonardo DiCaprio by Hugh Stewart | Alfred Hitchcock with Tippi Hedren by Philippe Halsman | Marx Brothers, 1908 | George Lucas and Amrish Puri on the set of Indiana Jones and the Temple of Doom | Lea Seydoux by Eric Guillemain | Nicole Kidman by Greg Kadel | Cillian Murphy by James White | Anna Farris by Patrick Hoelck | Jamie Lee Curtis on the set of Halloween | Rachel Weisz by Annie Leibovitz | Robert De Niro by Andy Gotts | Ellen Page by Olivia Malone | Ellen Page by Olivia Malone | Angelina Jolie by Hedi Slimane | Grace Kelly and Cary Grant. To Catch a Thief 1955 | Elizabeth Olsen by Hunter & Gatti | Christina Hendricks by James White | Francis Ford Coppola, Marlon Brando, and Al Pacino on the set of The Godfather | Marilyn Monroe by Philippe Halsman | Angelina Jolie by Heidi Slimane | Penelope Cruz by Tom Munro | Salvador Dali by Philippe Halsman | Quentin Tarantino, Samuel L. Jackson & Maria de Medeiros on the set of “Pulp Fiction” | Marilyn Monroe by Milton Greene | Bela Lugosi and Boris Karloff | Scarlett Johansson by Annie Liebovitz | David Lynch by Miles Aldridge | Ghost - with Patrick Swayze and Demi Moore

What Goes Into a Color Grade for a L’Oréal Commercial

Senior Colorist  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.

Some Infos:
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)

Via PetaPixel

garnier1

Building the Black Hole for Interstellar

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

Interstellar

Introduction to Automated Dialogue Replacement (ADR) – New FilmmakerIQ Lesson!!

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:

RODE

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

ADR

Five Fallacies and How to Argue on the Internet (and IRL)

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.

Fallacy

 

Creating the Opening Cinematic for “Destiny”

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.

Destiny1

fxg: Can you talk about designing the cinematic and what concepts, storyboards and early roughing out was done – what were the important things Bungie wanted you to communicate?

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

How Facebook Is Changing the Way Its Users Consume Journalism

A study says 30 percent of adults in America get news from the social network – how does this affect the way Journalism is consumed?

FB news

Many of the people who read this article will do so because Greg Marra, 26, a Facebook engineer, calculated that it was the kind of thing they might enjoy.

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

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