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Andy Baio on the Copyright Infringement Culture

The January 2013 Portland/Creative Mornings features Andy Baio, writer and coder who loves making things most famous for Kind of Bloop, an 8bit remix Miles Davis’ best known album. The global theme for this month was “Reuse,” and Andy spoke about remix culture:

“Cut, copy, paste. The ability to reuse and remix is so deeply baked into our tools, it’s rewritten our culture. We learn to make great art by copying, and we participate in our culture by reusing and modifying what we see. But the law hasn’t caught up with our changing values, effectively criminalizing the creativity of millions. Cover songs on YouTube, fanfic, mashups, and supercuts all violate copyright, and lawyers are starting to find new tools to discover and enforce infringement. Welcome to the new Prohibition.”

Via PetaPixel

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Learn how to Write Scripts for After Effects

Using Adobe’s ExtendScripts – David Torno explains how to write scripts which are powerful ways to automate actions inside After Effects that can really add a heightened dimension to your workflow.

To begin this series I will show you some helpful resources for ExtendScript, reveal helpful tips to get started as well as teaching you the basics of javascript. This foundation will get you started with programming in general and will help you familiarize yourself with the process. As we progress in the series, I will be showing you how to create some very powerful and useful code. We will get into accessing different areas of After Effects, changing composition and layer properties, building graphic user interfaces (GUI for short), and even create documents containing information from our project. It should be a great learning experience and hopeful you’ll be ready to explore creating your own custom scripts by the end of this series.

PVC Coalition | Read the Full Article

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‘Oh My God’ Shooting Louis C.K.’s 360-Degree Stand-Up Special

Learn about the cameras and how the production of an HBO Comedy Special is produced in this behind the scenes look at shooting Louis C.K.’s “Oh My God”

These considerations were factored into the decision to shoot in Phoenix with ARRI Alexa cameras, a switch from the series, which is generally shot with RED EPICs. A 4K shoot was considered but abandoned due to the additional recording gear required and the challenges of recording and processing that much data, as well as related costs and schedule limitations. Eventually the team decided on shooting with a 4:2:2 HQ codec onto 64 GB SSD cards. Higher-capacity 128 GB cards were attractive, but new and unproven.

Eight Alexas were configured around the room and set for exposure at 800 ASA. Each camera had an operator and an assistant to pull focus. Three were in a closer ring around the stage and three more were arrayed in a larger ring. These six were more or less stationary, mounted on tripods, and placed to minimize dead seats. The last two cameras were situated closer to the back of the house, fitted with zooms and mounted on small cranes—one on aJimmy Jib and the other on a CamMate.

Creative Planet Network | Read the Full Article

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The Sound and Music of Oblivion

This exclusive SoundWorks Collection profile talks with visionary Director Joe Kosinski about the sound and music of his new film “Oblivion”. Also featured are Kosinski’s behind-the-scenes collaborators include Composer Joseph Trapanese, M83′s Anthony Gonzalez, and Re-recording Mixer Gary Rizzo, and Re-recording Mixer Juan Peralta.

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How Alex Buono shot SNL’s “History of Punk” Sketch

Cinematographer Alex Buono describes the process of shooting the SNL sketch “History of Punk” a satirical tribute to Margaret Thatcher that required recreating different looks of the punk era on an extremely tight schedule.

For starters, let’s talk about the weekly schedule at SNL. The writers and cast members have to reinvent the show every week with new material, leading up to a table reading on Wednesday afternoon. By Wednesday evening, a dozen or so sketches will be chosen for the show that week and that’s when the Film Unit director/producer Rhys Thomas gets the green light for the film piece we’re shooting that week. For my part, I’ll receive the script on Wednesday night, at which point I’ll pack my bags and head for the airport. (Believe it or not, I live in LA and commute to NY each show week.) The 11:30pm redeye from LAX to JFK is now a rote part of my weekly existence. I arrive in NYC around 7:45am, grab a quick shower in the Delta SkyClub at the airport – no joke! – and catch a cab to the office where Rhys, our Production Manager, Justus McLarty, and the rest of the team have already started the mad scramble of our single prep day. In general, we prep Thursday and shoot Friday for broadcast on Saturday. I’ll keep mentioning the timeline as I walk through the spot, since the turn-around schedule is by far the biggest pressure we face.

“History of Punk” was actually the second script that we were handed to produce on Friday. The first script was “Al Pacino HBO Biopics” – a tour de force of Bill Hader’s supreme Al Pacino impression, for which we had to create at least 10 different looks on the same courtroom set. That alone would normally be a big challenge so the additional script was a little overwhelming at first. But the “Punk” script was just so good, we were all immediately up for it. The short film is a mockumentary about punk legend Ian Rubbish (Fred Armisen in the mold of Johnny Rotten), who parted ways with his band The Bizzaros (Bill Hader and Taran Killam) over his controversial support of Margaret Thatcher. Written by Fred Armisen and Seth Meyers in the wake of Margaret Thatcher’s death last week, the script is about the coolest and classiest tribute I can imagine. For me it was extra fun because I also make documentary films when I’m not working for SNL, so making a “Spinal Tap”-style mockumentary is completely up my alley.

The biggest challenge of this spot was trying to figure out how we were going to accomplish so many different dated looks and sets in our incredibly short timeframe. There were multiple period punk concerts, still photo montages, modern day interviews, a setup at 10 Downing Street with Margaret Thatcher and a recreation of the infamous 1976 Bill Grundy interview with the Sex Pistols… Schedule-wise, we’d start Friday morning with the “Punk” spot, but “Pacino” was also huge so we thought we’d have to finish shooting EVERYTHING on “Punk” by midday. At first glance I thought there’s just no way – it’s an 11-page short film!

Alex Buono | Read the Full Article 

Tropfest NY 2013
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The Lie Most Frequently Told In Hollywood

Stephanie Palmer identifies what “No” looks like in the creative field and how “Maybe” and “Yes” sound in comparison.

You know those stories where the hero is lied to, but doesn’t know it, and the best friend knows about the lie and has to decide whether or not to tell the hero?  With rare exception, the sooner the hero is told about the lie, the better.  It might hurt, but better to know the truth.

In this post, I’m playing the role of the friend, you’re the hero, and I’m hoping that you won’t be upset when I tell you:

Sometimes, the compliments you get from decision-makers about your work aren’t true.

These compliments, these times when you hear a version of “Yes,” often are lies–and what is actually being said is, “No.”

That’s why today we’re going to talk about exactly what “No,” “Maybe,” and “Yes” really sound like.

Good In a Room | Read the Full Article

Via Scott Meyers and Go Into The Story

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