Russell from IndyMogul was in attendance at the Delsea Drive-in, the last drive-in movie theater in New Jersey. He met up with C.C. and Rana from the DRIVE-IN Film Festival, a group dedicated to getting the word out about drive-in theaters across the country, and he also got a tour of the grounds from owner, John “Doc” DeLeonardis, MD.
Understanding the post production process can be a bit frustrating – the Post Lab asked Producer Will Adashek to elaborate on the meaning of some of these terms.
The digital conform process is actually very similar in concept to the days of editing film negatives! Like film, most of the professional digital camera in use today, including the Alexa, Red, Sony F5/55/65, Canon C300/C500, and many others, still shoot in a format that can’t be played back or edited easily on a typical computer. There is an incredible amount of processing power and disk speed needed to play back most of these formats at all, and especially in real time, because they contain so much data. So, like in the days of film, today’s digital workflows still require that we make a temporary version of the footage, with temporary color as well, in a format that can be edited on a normal computer. This footage is typically referred to as “proxy”, “offline” or “dailies” media. For Final Cut Pro and Premiere editors this usually means we use the Quicktime ProRes codec, and for Avid editors we use the DNxHD format. These are still HD video formats and look great for editing purposes, and these formats are what the creative team will use throughout the editing process. Eventually, at the post facility, the edit will be reconnected to the original camera media- a process called the conform. In addition to the cuts, we also reconstruct the reframes, resizes, speed changes, and anything else that might have been done in the edit, to make sure that the conformed version of the film accurately reflects the intent of the filmmakers.
The Post Lab | Read the Full Article
Go behind the scenes of how they crafted the flying cityscape and HBO starship of the network ID from 1983
The intro in full:
Scott Myers writes about how living in LA can change you as a writer.
* You are where the players are. Agents, managers, producers, studio execs, talent, L.A. is the center of the film business. Your presence in Los Angeles puts you in proximity to these people which enables you to do networking that much more effectively.
* You are where the deals are. Whether it’s general meetings, pitch meetings, open writing assignment meetings, script meetings, it all happens in L.A., much easier to be a presence if you get a call and have the capability of hopping in your car to drive across town to take a meeting.
Beyond that, L.A. offers writers opportunities to learn more about the craft, everything from presentations through the WGA or Writers Guild Foundation, and an endless stream of public screenings followed by Q&A’s with filmmakers, to meeting up with other writers or attending industry screenings of movies.
Go Into The Story | Read the Full Article
Japanese broadcaster NHK has been at it, pushing the bounds of acquisition with 8K resolution and 22.1 surround sound. Kaleem Aftab interviews their technical team about application of 8K technology.
Mitani: 8K (Super Hi-Vision) is a system that considers the particular characteristics of human vision to make audience experience an effective and efficient sense of both immediacy and reality – it’s as if the audience is viewing real objects, thus it is said to be the ultimate 2D TV. The 8K resolution covers almost the entire range of vision (induced visual field) which influences the human grasp of spatial coordinates. The pixel structure remains invisible to the unassisted eye even when viewed across a horizontal angle. When using an ultra-high resolution tablet format, too, the picture can be viewed smoothly, that pixel structure cannot be seen.
Mitani: This is related to the previous answer, but the target for the next-generation service after HDTV is the last word in 2D TV. Some time will be certainly needed for the dissemination of receiving equipment, including TVs, before full-scale broadcasting services can commence and we don’t consider the timing to be too early. Also, because this system has been built to match the characteristics of human vision, we do not anticipate building a system to surpass 8K. Meanwhile, as our next-generation system after 8K, we are also researching a 3D TV system for natural viewing which will not require the use of special glasses.
Filmmaker Magazine | Read the Full Article
Ryan E. Walters reflects on how Cinematography and the problems inherit with the profession.
As someone who is committed to lifelong learning and continual self-reflection, this last year has brought with it an evaluation of where I’m at and where I am headed. I’ve come to the conclusion, after a lot of soul searching, that it is bad business to be a cinematographer. That is not to say that I do not love what I do. I feel very blessed to be paid to do what I love. I still can’t believe that people give me money to do this! But that doesn’t mean it makes for good business. Here are three reasons why it’s bad business, and what I wish I knew 5-10 years ago.
Although what I write here is geared towards the camera department and cinematographers, I think it applies to anyone in any creative field. As always, take what I say with a grain of salt- as I am offering my own perspective and experience.
Although I still have a soft spot for film, I love the opportunities that the digital revolution has opened up to the visual arts. Not only has it allowed us to get cameras into spaces that once were impossible, but it has lowered the barrier to entry. For well under $1,000, anyone can pick up a quality camera to shoot their films. That means that people can start learning earlier in life, get more experience sooner, and be more skilled at a younger age.
And while the digital revolution has brought with it new opportunity, and it has removed the barriers to entry, it has also brought with it an unintended consequence of the evaporation of the middle market. Over the last several years, I have seen a drastic change in the type of projects that I shoot. It used to be that my commercial projects would split as follows: 25% Low Budget (>$10,000) / 50% Middle ($10,000 – $100,000) / 25% High ($100,000+). These days it seems that the split has changed to 40% Low, 20% Middle, and 40% High.
People who value quality and experience will be willing to pay for it. But there seems to be a trend these days. People think that because the gear is so affordable, the crew behind the gear should be paid peanuts as well. So with the downward pressure of gear prices, and the struggling economy, it has been my experience that the cushy middle-range projects are drying up.
Ryan E Walters | Read the Full Article
Comedy Mastermind Judd Apatow joins Conan O’Brien when his film “This is 40″ was coming out for an in-depth discussion about comedy writing.
Go back stage with director Spike Jonze at the 2013 YouTube Music awards and see how the show was made.
Join underwater photographer Larry Cohen as he talks about the use of cameras when used underwater. He will go over simple Point and Shoot systems to very sophisticated systems for DSLR and Mirrorless cameras.