Jeff Foster takes the newly launched GoPro Hero 3 for a spin and compare it to the previous generation first-person action camera.
So GoPro had this little “launch event” this week to introduce the new Hero3 to the world and invited a bunch of media folks from all over the globe to San Francisco to take part in it and get a hands-on experience. Little did we know that even included race cars, motorcycles, hot air balloons, jets, catamarans and diving with sharks! It was an amazing experience to get a real feel for what the GoPro can do, so let’s take a closer look at the Hero3…
First of all, this amazing new camera is completely redesigned from the ground up… about 30% thinner than it’s predecessor, the Hero2. And with an improved sensor that gives 12MP still images and up to 4K video @ 15fps, and the new anamorphic glass lens is beautifully sharp and has less barrel distortion. There are really so many enhancements in this camera that I’m going to have to break this review into two parts, just to get enough comparison data and hands-on examples to cover it all. But first, let’s take a look at the Hero3 and some specs:
ProVideo Coalition | Read the Full Article
Many of the effects in Jurassic Park were done the good old fashioned way – with a man in a suit. Watch the evolution of a Raptor going from a crude “garbage bag” version to a fully realized radio controlled monster.
Although Stan Winston Studio created multiple raptors for JURASSIC PARK, including full-size cable-controlled puppets, half-puppets and insert legs, some Raptor shots were most efficiently captured with a man in a suit. SWS supervisor John Rosengrant was pegged as the main Raptor suit performer, with SWS concept designer Mark “Crash” McCreery also pitching in when the shot required two raptors.
To determine the suit’s configuration, the Winston team overlaid Raptor drawings on images of Rosengrant in various positions. The crew then did a body cast on him, and sculpted the Raptor form around that cast.?
Stan Winston School | Read the Full Article
Steven Spielberg’s years of anger toward his father, and their later reconciliation, is still playing out in his films. Lesley Stahl of 60 Minutes reports.
With the wealth of digital tools for post production, it’s easy to put things off for later. But usually the phrase “fix it in post” is a precursor to disaster.
If you’re a filmmaker, you’ve no doubt heard someone say, “It’s okay, we’ll fix it in post.” You may have even been the someone who said it. But waiting to think about post-production until you’re there can cost you — in money and time.
Lucky for you, The Post Lab’s Chris J. Russo recently led a class for Film Independent members on developing the best post strategy for your film. From the technical to the tactical, here are five tips from Russo to get your post-production plan started before it’s too late.
Once your editor comes on board, determine what your post needs are before you start shooting. Create a post workflow from the beginning that works. “Ask yourself, ‘what kind of movie am I making?’ The next Brokeback Mountain? Or Paranormal Activity? You need to devise a plan for how to make the movie you want.”
Be prepared creatively as well. Before you walk on set on the first day of production, you should have already done all of your homework as a director or producer. That way, you can make quick decisions when the pressure is on. “When you get to post, it can cost a great deal to change creative decisions,” Russo warned.
Film Independent | Read the Full Article
R. Kurt Osenlund offers a portrait of Nicole Kidman, looking at her career becoming a Hollywood rebel.
While other A-List actresses have chased the kind of star vehicles that kill on opening weekend, Nicole Kidman has been quietly becoming Hollywood’s most unlikely rebel—a statuesque leading lady with a snowballing penchant for bold auteur partnerships. It’s hard to pinpoint when, exactly, the gal from Days of Thunder began her metamorphosis into the daring muse currently drawing viewers to The Paperboy (above), but many would likely cite Gus Van Sant’s To Die For as the pivotal work in Kidman’s filmography. The sheer unlikeability of the delusional, cradle-robbing viper Suzanne Stone screams of Tinseltown-bombshell repellant, but Kidman executed the role with brio and darkly comic conviction, declaring that she was more than your average risk-taker. Of course, To Die For was followed by some uncertain moves (namely Batman Forever and The Peacemaker), which slightly muddled a career that remains considerably hard to define. But when tracking Kidman’s projects from 1995 on, a refreshingly experimental variety leaps out, punctuated by increasingly offbeat, benchmark choices.
It’s fitting that the New York Film Festival’s recent gala tribute for Kidman featured a clip reel that kicked off with To Die For, opening not with the start of a career, but the start of a career renaissance. There are few top-tier actresses who seem keenly aware of—or, perhaps, interested in—making films that are as much about the director as they are about the star (you’d have to go back to Adaptation to find a Meryl Streep flick with a true filmmaker’s signature). If Kidman’s Van Sant collaboration sparked her cinephilic awakening, Stanley Kubrick’s Eyes Wide Shut grabbed her by the shoulders with a shake of artistic reassurance. Conventional wisdom understandably says that Kidman didn’t bloom professionally until parting ways with Tom Cruise, but that disregards one of the screen queen’s most unforgettable movies, a challenging drama that saw her star opposite her then husband, and seems to have planted a seed of undying directorial affection.
“I thought Stanley was normal,” Kidman says of Kubrick. “I’m not sure what that says about me.” She’s sitting on the stage of a movie theater in Lincoln Center’s Alice Tully Hall, dressed all in a deep red that matches her lipstick. Hundreds of fans fill the seats and hang on her every word, many of which involve praising the visionaries who dream up film art. She offers a disclaimer about studio heads hating her for what she’s about to say, then proceeds to condemn the luxury of huge budgets, saying shoestring productions help to fuel the creative process.
Filmmaker Magazine | Read the Full Article
Frank Meo, the founder of http://www.thephotocloser.com/ will teach you the process by which you can compete and succeed in putting together a buttoned up bid. Though this is a photography presentation, a lot of this can transfer into the business of commercial filmmaking.
Derek Watkins is an extraordinary trumpet player who started his James Bond recording history with Dr. No when he was just 17 years old. This small production blog for the new Bond Film Skyfall introduces us to Derek Watkins and composer Thomas Newman.
Here’s Derek Watkins recording for Casino Royale
Sarah begins to confront her shortcomings after she rejects her boyfriend’s hasty proposal and soon finds herself in a rebound romance. Meanwhile, her sister Beth is immersed in the details of her wedding. Starring Lizzy Caplan, Alison Brie, Martin Starr, Geoffrey Arend, and Mark Webber. Directed by Michael Mohan
Save The Date will be available on demand on Novermber 8, 2012 and in theaters December 14th (USA)