Cube streams video directly to an iPad. Simply connect to Cube’s using ad hoc or infrastructure (through a router) networking, then copy the video stream link and paste it into OPlayer HD, and you’re done!
Works on up to three iPads simultaneously or two iPads plus Proxy Recording. OPlayer HD resolves the latency issue native to iPad’s QuickTime video player.
Behind the strike that killed Osama bin Laden on May 1st was one of the U.S. military’s best kept secrets: an extraordinary campaign by elite U.S. soldiers to take out thousands of Taliban and Al Qaeda fighters. A six-month investigation by FRONTLINE has gone inside the “kill/capture” program to discover new evidence of the program’s impact — and its costs.
Here is a collection of filmmakers discussing what many believe is the greatest film ever made, Citizen Kane. The interviews include everyone from Steven Spielberg, Sydney Pollack, Charlton Heston, Martin Scorsese and more. We even threw in Donald Trump just for fun. We start with the man himself, Orson Welles.
Philip Bloom does a “real world” comparison test of the above cameras with a Canon 5D mkII along for the ride to see how it compares. It’s not a Shootout but a comparison on how they are to operate, the features they offer and of course a look at their images.
Part 2 goes in depth looking at the various features.
Read more on his blog here about why he did it and what to take from it.
Motherboard TV recently toured The Creature Shop, a South African special effects company that specializes in animatronics, prosthetics, and make up. In this video founder Graham Press shows off his gory workshop of special effects props including some from movies like District 9 and Hotel Rwanda.
In this our second in a series of First Films we look at some of the great avant-garde directors that shaped the visual style for generations of filmmakers.
Unlike our last group from the “Film School Generation” (Steven Spielberg, Francis Ford Coppola, Martin Scorsese and George Lucas) where short films dominated their early efforts, these directors where a little older and began with feature length films. In both groups their early efforts are uneven with moments of genius, but these films push out at the margins of traditional techniques and are not bold departures like the Film School Generation. Perhaps that is because they where expected to turn a profit.
Fear and Desire (1953) by Stanley Kubrick ~ age 25
Fear and Desire (1953) is a military action/adventure film by Stanley Kubrick. It is noteworthy as Kubrick’s first feature film and is also one of his least-seen productions. Kubrick served as the film’s director, producer, cinematographer and editor.
Fear and Desire was picked up for U.S. theatrical release by Joseph Burstyn, a distributor who specialized in the presentation of European art house titles. In an uncredited review following the New York premiere, The New York Times noted: “If Fear and Desire is uneven and sometimes reveals an experimental rather than a polished exterior, its overall effect is entirely worthy of the sincere effort put into it.”
Kubrick received praise for Fear and Desire from film critic and screenwriter James Agee, who reportedly took Kubrick out for a drink and told him, “There are too many good things… to call [Fear and Desire] arty.” Columbia University professor Mark Van Doren sent Kubrick a letter that stated: “The incident of the girl bound to the tree will make movie history once it is seen… Stanley Kubrick is worth watching for those who want to discover high talent at the moment it appears.”
Fear and Desire was not a box office success, and Kubrick had to take a for-hire job directing the promotional short The Seafarers on behalf of the Seafarers International Union in order to raise funds for his next planned feature, Killer’s Kiss (1954), which would be co-written by Kubrick and Howard Sackler and star Frank Silvera, one of the Fear and Desire actors.
Luci del varieta – aka Variety Lights (1950) by Federico Fellini ~ age 30
Variety Lights (Italian: Luci del varietà) is a 1950 Italian film directed and produced by Federico Fellini and Alberto Lattuada
The film launched Fellini’s directorial career, but was a collaboration (in production, direction, and screenwriting) with Alberto Lattuada. Up until that time, Fellini had been primarily a screenwriter (most notably working on Roberto Rossellini’s Rome, Open City), while Lattuada was already an established and respected director of neorealist films and literary adaptations.
Kris – aka Crisis (1946) by Ingmar Bergman ~ age 28
Crisis (Swedish: Kris) is a 1946 Swedish film directed by Ingmar Bergman. The film was Bergman’s first feature as director and he also wrote the screenplay, based on a play by Leck Fischer.
The story follows a young girl living a quiet life in a small town with her foster mother. Attracted by the allure of the big city she goes to Stockholm to live with her birth mother. There she learns about the darker side of humanity and the big city.
Shadows (1957) by John Cassavetes ~ age 28
Shadows is an improvisation inspired film about interracial relations during the Beat Generation years in New York City, and was written and directed by John Cassavetes. The film stars Ben Carruthers, Lelia Goldoni, Hugh Hurd, and Anthony Ray. Many film scholars consider Shadows one of the highlights of independent film in the U.S. In 1960 the film won the Critics Award at the Venice Film Festival.
Cassavetes shot the film twice, once in 1957 and again in 1959. The second version is the one Cassavetes favored; though he did screen the first version, he eventually lost track of the print, and for decades it was believed to have been lost or destroyed. This version was intended to have the jazz music of Charles Mingus on the soundtrack, but Mingus continuously failed to meet the deadlines Cassavetes set; the contributions of saxophonist Shafi Hadi, the saxophonist for Mingus’s group, proved to ultimately be the soundtrack for the film.
In 2004, after over a decade of searching, Cassavetes scholar and Boston University professor Ray Carney announced his discovery of the only print of the original version of the film, found in a box on the subway before being bought with some other “lost and found” objects. The film Carney managed to find was a pristine copy that apparently had only been screened two or three times before it was lost. Carney has posted three video clips from Shadows I for viewing on his website to verify the film’s condition and indicate the presence of a complete credits sequence, which demonstrates that the version he possesses is a final version, not a rough assembly.
In this video clip, director Steven Spielberg talks about the importance of studying films beyond the recent past, how films of the CITIZEN KANE era influenced him and his filmmaking contemporaries, and how he requires his own children to watch “the classics.”
Crowd-Funding is all the rage in certain circles of the film industry. But for an effective campaign you have to look deep down as to why your investor will want to donate to your film. This article explores two underlying reasons why someone will click that donate button.
With each example I have tried to outline what the investor gets back – at an emotional level. All films offer things such as “a signed copy if you invest $50″. But the real, emotional, reason to invest is often different.