Find out why Peter says that shooting parts of The Hobbit: The Desolation of Smaug is “just like I used to do in the old days, at home, on Super 8 camera.” The Hobbit: The Desolation of Smaug is in theaters on December 13.
Patrick Liddell ran an experiment. What would happen if you uploaded a video to YouTube then downloaded the version YouTube compresses and then upload the compressed version for YouTube to compress again? After 1000 iterations The result is surprisingly foreign and unhuman.
From an FAQ on his site.
When copying files, the information is lossless; i.e. no matter how many copies are made they are all exactly identical to the original. This is just bit-jockeying. But what I am doing here is transcoding the video twice per upload. Each time the video gets uploaded to YouTube, it gets translated to the .flac/H.264 video codec — a process that makes the video smaller but loses some of it’s information. Then this loss happens again when I translate it again to mp4 format on my computer. Each time the pieces of information lost are saved on subsequent versions, and accumulated throughout the process
Via DIY Photography
Sound Editor Brandon Proctor talks about the work required to create Robert Redford’s lost-at-sea film All is Lost.
The script called for Redford’s character, Our Man, to be alone on a thirty-nine foot sailboat when it strikes a half-submerged shipping container. The rush of incoming seawater would short out his radio and he would be forced to fight a solitary struggle with survival without any link to the outside world.
Below the Line | Read the Full Article
Filmmaking is about vision, not about the camera. If you don’t believe me, believe Roger Deakins, perhaps the foremost and celebrated director of photography who’s work includes films from Shawshank Redemption to Skyfall.
Cinematography is more than a camera, whether that camera is a Red an Alexa or a Bolex. There is a little more to it than resolution, colour depth, latitude, grain structure, lens aberration etc. etc. etc. The lenses used for Citizen Kane were in no way as good as a Primo or a Master Prime and the grain structure in that film is, frankly, all over the place. But the cinematography? Well, you tell me.
Vision controls the tools. As Steven Soderbergh stated in his STATE OF CINEMA speech, CINEMA IS A SPECIFICITY OF VISION…IT MEANS THAT IF THIS FILMMAKER DIDN’T DO IT, IT EITHER WOULDN’T EXIST AT ALL, OR IT WOULDN’T EXIST IN ANYTHING LIKE THIS. The most important instrument you possess is your approach to visual storytelling, or, in other words, your filmmaker’s style. It is your “specificity of vision” that dictates how your film will engage an audience and what emotions it will stir in the viewer. Hone in on how you want the audience to experience your story.
A Bittersweet Life | Read the Full Article
Christopher Nolan on how Bacon’s paintings inspired the Joker in ‘The Dark Knight’.
This segment from a creative live course has Wedding Filmmaker Ray Roman talking about how to increase your rates and make more money. The advice here is not solely geared toward wedding and is applicable to all industrial video work as well.
The British actress, comedian, screenwriter and author Emma Thompson talks about her life and career as well as her role of P.L. Travers, the author of Mary Poppins in Saving Mr. Banks.
Executive at a studio-based film production company, Jenny Yerrick Martin lists off 10 often heard myths given to those trying to get a career in the Entertainment industry.
It seems like a smart idea. Plotting out every step to your destination is a way of making sure you don’t take any unnecessary detours, right? But it’s like saying, “Wait until you know how you’re going to get your first feature film released wide in theaters before you pick up a camera.” If you do this, you will probably never begin. Instead, go until you hit a roadblock. You will have resources and knowledge that you don’t have now- and you might find you never hit a real roadblock.
You want to be known in the business. So be the guy who tells everyone how it’s done even if they don’t ask, the one who doesn’t back down in an argument, the one who does everyone’s job because he’s just so hungry to make it. That sounds like someone you’d want to hire or work with, right? Wrong. A lot of people would consider that guy a nuisance, not an asset, and it only takes one person vetoing you for you to miss out on a sought-after job. Be the one who offers help, who gets their job done, who everyone thinks is amazing. “I know the perfect person!” they will say if they hear about a position or a project you’d be right for. They will be right.
Studio System News | Read the Full Article
Kathryn Arnold interviews Joe Woolfe, Executive VP, Media and Entertainment Finance at One West Bank about the financial vehicle of PreSales and how they work internationally.
A common financing vehicle for independent films is “Pre-Sales.” The phrase is often thrown around among producers and distributors in every day conversation. However, as more and more content creators are getting involved in bringing script to screen, everyone is trying to understand how this prominent financing tool actually functions.
I asked Joe Woolfe, Executive VP, Media and Entertainment Finance at One West Bank, to break down the basic parameters of this type of “asset base lending,” including the timeline, collateral and paperwork involved in order to mitigate the key risks with these types of production loans.
Kathryn Arnold: Joe, we all know producers must get their ducks in a row before coming to the bank for a production loan. In addition to a detailed cash-flow budget and timeline to produce the film, a producer must bring some form of collateral to the table in order to get a loan. Pre-sales being one of the most common forms of collateral, can you tell us in laymen’s terms the exact mechanics of a pre-sale?
Joe Woolfe: Sure. A pre-sale is a license to a third party distributor to distribute a film in a given territory. In order to obtain the license, the distributor must put up a “minimum guarantee”, which is effectively an advance. These advances are “contracted receivables” whereby after the film has been completed and delivered to the distributor, the distributor has the obligation to pay the producer a specific amount for its right to exploit the film in their territory. These receivables serve as the basis upon which the bank makes the loan.
The Entertainment Expert | Read the Full Article