What happens when the Stick bomb toy is pitted against a radio control model WRX STI?
Now what how they made it in this behind the scenes video from SubaruGlobalTV
Philip Bloom takes 42 minutes to discuss a camera that as he concludes, doesn’t really quite fit the market.
The FAA has come down hard on using drones for commercial purposes – but a Federal Judge has ruled against the government agency – declaring drones legal (for now)
For the moment, commercial drones are, unequivocally, legal in American skies after a federal judge has ruled that the Federal Aviation Administration has not made any legally binding rules against it.
The judge dismissed the FAA’s case against Raphael Pirker, the first (and only) person the agency has tried to fine for flying a drone commercially. The agency has repeatedly claimed that flying a drone for commercial purposes is illegal and has said that there’s “no gray area” in the law. The latter now appears to be true, but it hasn’t gone the way the FAA would have hoped. Patrick Geraghty, a judge with the National Transportation Safety Board, ruled that there are no laws against flying a drone commercially.
Vice | Read the Full Article
It’s the inevitable question when it comes down to starting a creative business. JP Danko tackles question by looking at how the expenses add up for in professional photographer’s point of view.
Everyone’s personal circumstances are different, and we have a global audience with drastically different markets and ideas about income levels – so the numbers I am presenting in this article are what I would consider realistic for a typical middle class Canadian – but please feel free to make adjustments to suit your own income goals and local market.
Say it with me – what I bill per hour is not what I earn. What I bill per hour is not what I earn. What I bill…OK you get the point – but for some reason this seems to be a particularly hard lesson for photographers to learn – especially those just starting out.
The reality is that all professionals who bill by the hour – such as lawyers, engineers, architects, accountants etc. bill their clients at a minimum two to three times their take home pay rate. For example, if a lawyer earns $60 per hour – they would typically bill at least $120 to $180 per hour.
DIY Photography | Read the Full Article
These days you really can’t buy a camera without throwing in all the accessories to make it work. Modular has been the name of game but is it all that it’s cracked up to be?
If there is one word that I think sums up the thinking behind modern camera design it is modularity. When the Red One was released into the world it was seen as a revolution. It was conceived as an infinitely configurable camera, with a number of add on modules available for it. Since then many cinema style cameras have followed suit. Add on recorders have become normal, with Sony’s latest cameras being designed to take additional modules that blend in seamlessly with the body design. Arri’s Alexa has taken things further and designed so that the sensor is field replaceable, and the recording media type is also upgradeable. However modularity in video cameras is not a new idea.
Not so very long ago Sony’s DXC-D35 series was bought as a camera head to which a matching recording “dock” could be mounted. With the plethora of formats available an ENG shooter could dock either a DVCAM, BetaSP, or Beta SX recorder thereby being able to shoot any format required by the broadcaster. Panasonic had their own variation on this concept too with the AW-F575. The concept never really took off at the time, but the thinking behind it was sound.
There are lots of advantages to modular design. In the examples above it allowed the camera to record multiple format types. These days this isn’t such a problem because all newly released camcorders record to a file system, and most NLE’s will take most formats depending on the age of the software.
Cameras such as the PMW-F5 can be enabled with Raw recording and higher bitrates through the use of the optional modules. On paper modularity sounds like a very good idea, and there have been some good examples in practice, but on what road has the concept currently taken us?
RedShark News | Read the Full Article
The Slanted Lens tests out combine HMI with LED for a WW2 inspired train shoot.
An exclusive behind-the-scenes look at how TIME scaled the tallest building in the Western Hemisphere and snapped an historic photographic panorama.
For years after the 9/11 attacks, nearly all the activity at Ground Zero was downward—digging through the piles of debris, excavating a vast pit to restore the ruined transit lines, preparing the foundations for the new buildings that would emerge there. Even the memorial that opened in 2011 was an exercise in the poetics of descent—two vast cubic voids, each with water cascading down all four sides, carrying grief to some underground resting place.
The memorial has turned out to be a lovely thing, but what the site still needed was something that climbed, something that spoke to the idea that emotional burdens might not only be lowered into the ground but also released into the air. Now we have it: One World Trade Center, the glass-and-steel exclamation point, all 1,776 feet of it, is nearing completion close to where the Twin Towers once stood. No doubt the new building’s official dedication will open the way to a necessary debate over its merits as architecture and urbanism, its turbulent design history and the compromises made over the long years it took to get the thing built. But in one important respect, One World Trade Center has already succeeded. It has reclaimed the sky. And this is the view from there.
Time.com | Read the Full Article
John Wood, covers some commercial ways to make money as a writer.
If you have an aversion to sales, it’s a perception that may be stopping you from taking advantage of a stress-free, lucrative way to make money. Income that will not only keep you comfortable, but provide you with the free time you need to continue building a solid screenwriting career.
ScriptMag | Read the Full Article
Ryan E. Walters explains how to use the Eye-Direct – a one-on-one prompting device which can help non-actors feel more comfortable
If you’re like me, you’ve done a lot of interviews with non-actors who need to look straight into the camera, and you know how intimidating that can be for the “talent.” As soon as the camera turns on, they clam up and turn into robots- their great personality quickly disappears. The solution to getting the performance you need, while still having them look straight into camera, is to have them look at someone’s face instead.
By looking at another person’s face that is responding to their answers you get a more natural response, and a more engaged interview. It is much more comforting for someone who has never been on camera to look at another face, instead of having to stare down that intimidating camera lens…
If you’ve done much research on gear that allows this to happen, then you’ve probably stumbled upon the Eye-Direct System. I’ve used this exact system on a number of shoots across the country. However, at $1,400, it is relegated to the classification of speciality gear that most will rent. But what if you could use tools you already have, and spend less than $200 to create something similar? Well, you are in luck, as I’ll show you how I did just that.
First, a bit of clarification. I have worked with the Eye-Direct system a lot. It is sturdy, well built, it does what it advertises, and it does it well. If you are looking for pro level gear that works- just buy the real thing, and skip the rest of this post.
The drawbacks to the Eye-Direct, as I have experienced them, are that it does take some setup time, and it is not the quickest, or easiest, to set up by yourself. The other thing I have found frustrating with it is that it does take up extra room on set. So, if you are like me, and you like to get your key light as close as possible to the talent, or you sometimes find yourself in cramped setups, then working with the Eye-Direct system can mean having to figure out creative solutions to get everything to fit.
Ryan E. Walters | Read the Full Article
This 26 minute documentary with Phedon Papamichael covers some of the techniques and midset used in the Black & White photography of Nebraska.
Alexander Payne first spoke to me about Nebraska when we were in preproduction on Sideways, so I have been aware of it, and it has been a plan of Alexander’s to make this movie for over ten years now. He aways talked to me about having this little simple story that takes place in his home state and he wanted to do it in black & white, so in his mind it always existed as a black & white project. He finally gave me the script after Descendents and I read it and I loved it and I called him and said ‘It’s almost my favourite story of yours’, because it was very clear to me how the movie should feel and I really enjoyed the tone of writing, the characters and the road movie quality of it. Then Alexander and I we got together and we met in Billings, Montana. I flew in and he picked me up with his mums car, an old Toyota Corolla, and we actually drove the full journey from Montana to Wyoming, we stopped at Mount Rushmore and all the way into Nebraska, and that was really again less specific discussing the movie, he just wanted me to get a feel for the land, and experience the vastness of the country and it was really impressive.
CineFii | Read the Full Article
The following interview of Breaking Bad creator Vince Gilligan is an excerpt from Chapter 5 of The TV Showrunner’s Roadmap: 21 Navigational Tips for Screenwriters to Create and Sustain a Hit TV Series by Neil Landau.
Neil Landau: The toughest thing for most screenwriters is creating original characters. People come up with ideas for what might be an interesting show, but creating complex characters is extremely difficult to do. What’s your process when you’re starting with the pilot? Walt [Bryan Cranston] is all about the choices that he makes in life. How do you make your creative choices?
Vince Gilligan: It’s interesting because each new project is a bit like a snowflake. It has its own shape. The best way to explain it is to talk specifically about Breaking Bad. When the idea first struck, it intrigued me. I think in hindsight what struck me in one of those rare Eureka moments of inspiration was not a plot or a big idea; it was a character who I found very intriguing — the character I didn’t even have a name for, who became Walter White. The idea of a previously good man, an inherently good man, a guy who is a loving husband and father who works hard for his family, who strives to do the right thing and does not break the law. Who suddenly, for external reasons, decides to very much veer off course off the path of goodness and become a bad guy. That intrigued me. It wasn’t the idea of cooking meth or putting a lab in the back of an RV; it was the interesting trappings that came with it. What intrigued me was the possibility of telling a story where the protagonist, by force of will, decided to become bad and would eventually become the antagonist, that idea of sand shifting beneath the character’s feet via a process that he put in motion. I’d love to say that it always works out that way. You start with a blank pad of paper and a pencil, your chin in your hand, saying, “OK, what interesting character can I write about today?” The trouble is they don’t appear to you that often, unfortunately. But when they do, it’s a wonderful thing.
Filmmaker Magazine | Read the Full Article