Dan O’Brien, Katie Willert, Soren Bowie and Michael Swaim of the Cracked team break out the social commentary and look at just when and how Vampires became the sex symbols they are today.
Why Everyone Wants to Have Sex with Vampires — powered by Cracked.com
This conversation that appeared in Interview Magazine in September 1974 doesn’t offer any great insights into filmmaking, but for what it lacks in informativeness it makes up for in novelty.
The meeting of these two icons of the 20th century is particularly significant, as each bridged high art and popular culture in unique intriguing ways. While on the surface it may seem like a odd pairing, they both share many things in common. Warhol and Hitchcock both started out as illustrators. Warhol had started his career working as a commercial illustrator, Hitchcock had started out creating illustrations for title cards in silent movies. Of course Andy and Alfred where also both film directors.
Andy Warhol: Since you know all these cases, did you ever figure out why people really murder? It’s always bothered me. Why.
Alfred Hitchcock: Well I’ll tell you. Years ago, it was economic, really. Especially in England. First of all, divorce was very hard to get, and it cost a lot of money.
Andy Warhol: But what kind of person really murders? I mean, why.
Alfred Hitchcock: In desperation. They do it in desperation.
Andy Warhol: Really?….
Alfred Hitchcock: Absolute desperation. They have nowhere to go, there were no motels in those days, and they’d have to go behind the bushes in the park. And in desperation they would murder.
Andy Warhol: But what about a mass murderer.
Alfred Hitchcock: Well, they are psychotics, you see. They’re absolutely psychotic. They’re very often impotent. As I showed in “Frenzy.” The man was completely impotent until he murdered and that’s how he got his kicks. But today of course, with the Age of the Revolver, as one might call it, I think there is more use of guns in the home than there is in the streets. You know? And men lose their heads?
Andy Warhol: Well I was shot by a gun, and it just seems like a movie. I can’t see it as being anything real. The whole thing is still like a movie to me. It happened to me, but it’s like watching TV. If you’re watching TV, it’s the same thing as having it done to yourself.
Alfred Hitchcock: Yes. Yes.
Andy Warhol: So I always think that people who do it must feel the same way.
Alfred Hitchcock: Well a lot of it’s done on the spur of the moment. You know.
Andy Warhol: Well if you do it once, then you can do it again, and if you keep doing it, I guess it’s just something to do.
Alfred Hitchcock: Well it depends whether you’ve disposed of the first body. That is a slight problem. After you’ve committed your first murder.
Andy Warhol: Yes, so if you do that well, then you’re on your way. See, I always thought that butchers could do it very easily. I always thought that butchers could be the best murderers.
Warhol openly proclaimed that he was nervous upon meeting the legendary director, and posed with Hitchcock by kneeling at his feet.
Warhol’s portrait of Alfred Hitchcock represents an incisive homage to the artist’s favorite director.
Warhol’s portrait offers a variation on the doubled self-image that Hitchcock played with in his title sequence, layering his own expressive line-drawing over the director’s silhouette, suggesting the mischievous defacement of graffiti as much as the canonization of a hero through the timelessness of the inscribed profile. To further thicken the plot, Warhol’s fluid line-drawing has echoes of a crime scene outline of a victim (the artist indeed collected photos of crime scenes), while the profile also echoes the mug shot of a most-wanted criminal (an important subject of a series by Warhol in 1964). By compressing together the image of a hero with a subtext of danger, Warhol’s portrait in some ways parallels the broad themes of morality and its transgression that was a leitmotif for the director, while also expressing a sense of humor which was central to Hitchcock’s persona, which always fused the deliberate gravitas of his demeanor with sly wit. Even Warhol’s choice for the color scheme for his portrait hints at a witty take on the director’s oeuvre, as he contrasts the silvery monochromatic visage of the film director (echoing the black-and-white film that Hitchcock strategically used for his television program and films such as Psycho ) with red pigment that is suggestive of blood. Hitchcock loved using humor as counterpoint to morbid subjects, and so Warhol’s gesture appears particularly fitting.
~ Christie’s Auction House
Other Warhol works of Hitchcock:
Researchers are about to demonstrate the first-of-its kind “Phase Change Memory Solid State Storage drive” – a memory device built with chalcogenide glass which records information by changing the state of the glass from crystalline to amorphous. These drives could be potentially thousands of times faster than conventional hard drives of today.
…The device was developed in the Computer Science and Engineering department at the UC San Diego Jacobs School of Engineering and will be on exhibit June 7-8 at DAC 2011, the world’s leading technical conference and trade show on electronic design automation, with the support of several industry partners, including Micron Technology, BEEcube and Xilinx. The storage system, called “Moneta,” uses phase-change memory (PCM), an emerging data storage technology that stores data in the crystal structure of a metal alloy called a chalcogenide. PCM is faster and simpler to use than flash memory – the technology that currently dominates the SSD market.
— Physorg.com | Read The Full Article
Color Grading is too often regarded as an arcane, exclusive science not fit for mere mortals. But the digital age is slowly starting to reshape this mentality and allow for a clearer perspective through the haze of hyperbole. Which is a good thing because the tools for getting great color grading results have never been better, cheaper or more accessible.
Any cinematic art can be complex, nuanced, detailed, scientific and specialized – editing, sound mixing, cinematography – but simply because these arts can be highly specialized shouldn’t mean you have to be a Specialist to engage with them; they shouldn’t be inaccessible or unapproachable.
Contrary to popular belief, Color Grading isn’t that hard. It is nether arcane nor unassailable. You CAN color grade your own digital movie and get good results. You CAN color grade on a desktop computer without dedicated hardware. Anyone who tells you otherwise is simply out of touch or a technology snob.
Of course a colorist specialist in a dedicated hardware grading suite with specialized and carefully calibrated monitors will likely get better results than you at your desktop or laptop. But that’s absolutely not the point. If we all followed that logic no one would dare pick up a camera until they had been properly apprenticed on a 35mm Panavision; No one would sit down to edit until they had been well schooled on every element of an Avid Symphony; No one would drive a car on the road until they had mastered an F1 racer. Utterly absurd! That is an archaic and dinosauric perspective generally expounded by those terrified that the Digital Generation of filmmakers may show them up with the brazen audacity of their DIY ethic.
It strikes me as somewhat odd that very few would rally against the idea of the DIY when it comes tocamera, sound and edit but for reasons unknown there remains an entrenched idea that doing your own color grade is somehow blasphemy and folly.
If you’re careful, follow some key principles of color theory, ensure your grading is in-concert with your film’s story and theme, understand how to avoid clipping and illegal colors, and have even a half-decent set of eyeballs in your head then there is absolutely no reason whatsoever that you can’t get great color grading results on your own, doing it yourself, using low cost software on a domestic computer.
The color grading software options on the market right now (Magic Bullet, Colorista, Apple Color, After Effects not to mention NLE plugins) are myriad, cheap and powerful but before you start banging away gleefully at color curve graphs there are some key notions to engrain into the consciousness of every DIY indie filmmaker.
Plan color from beginning
Don’t let your color choices be after-thoughts and add-ons; put color at the centre of your film along with Storyboard and Casting. Your choice of a color palette should come straight from Character, Narrative and Theme inherent in your script. It sounds trite but it’s hugely useful to simply ask “if Character X were color what would he/she be?” “If Scene Y was a color what would it be?” “If My Movie were a color what would it be?” Distilling your ideas about color from the very beginning will inform everything you will do with color throughout the production process.
Good grading starts on-set
Contrary to popular belief, Color Grading is not a process of ‘adding’ color to your film but of manipulating the colors that are already there. As such, any color grade will only ever be as good as the source material. Therefore good color grading starts with good set-dressing, good costuming, good prop selection, good locations; choices made in concert with a clear color concept from the outset.
Build Color Swatch Sets
Like any other part of production, communication is key. You will need to develop a Color Plan and clearly communicate it to the various collaborating departments of your film to ensure you are all painting from the same palette. This is where Adobe’s online color tool Kuler (kuler.adobe.com) is your best friend.
Kuler enables you to use infinite variations on defined color formulas and relationships to build color swatches. Even more useful (and fun) is the capability to upload a photo and have Kuler extract the 5 key colors from the image to build a swatch set. A simple but highly effective process is to find a photo you like that has the sort of color tones you want and use Kuler to extract them. Kuler will then be able to give you the exact RGB values for each color in your swatch, values that can then be shared and used to inform every creative choice in the production; from production design and wardrobe, through to the DVD cover and the color grade.
A fascinating and highly useful technique my students at the International Film School Sydney and I have been exploring has been to take a still image of a scene from a movie that has an interesting color palette and load it into Kuler to extract the key colors. Then take three of those color tones – a dark, a mid and a highlight – and plug their RGB values directly into Red Giant’sColorista plug-in for Final Cut Pro (you could also use any 3-way color corrector but Colorista is superb). What this does is manipulate the High, Mid and Low tones of your image to directly correspond to the tones from the source film image. From there you can simply tweak the saturation to balance the shot. This is a somewhat unorthodox approach but one that yields some fascinating results and at the very least serves as a great place to start building a color grade.
Test Color Grades
Just as any director of photography worth their salt will perform test camera shoots, it is equally important to ensure you do a test color grade as well.
Use the test shoot footage of locations and castings and reccy’s to experiment with color and the assembly of a particular color Look. Once you have a clear idea and example of what you want make sure it is communicated back to the DoP. The cinematographer is far better able to shoot you the image you want if they know what you intend to do to it once it is in post.
Be sure to do the test grade on footage that will have the same lighting conditions as the final footage. In the case of exteriors this means matching the right time of day and whether to ensure you’re doing your test grade on the same color temperature, tone and shadows as the final picture. In the case of interiors to try to set up the same or similar lights to those you’ll use on the shoot so your test is more accurate and re-producible.
As we rest on the cusp of generational change in the digital age there is potential for misunderstanding and contradictory ideas when it comes to Directors of Photography and the demands of digital post. Sadly there are still too many DoP’s who, whilst they may have embraced the digital camera, are yet to engage with digital post. As such there are still areas of ignorance and misunderstanding between the conceptual ideas of the DoP and the creative needs of the Director, Editor and Colorist.
The most common manifestation of this problem is the DoP who endeavors to make the image in the viewfinder be as close as possible to their perception of the final image of the movie; to bake the ‘look’ of the film in-camera.
This kind of thinking really doesn’t compute in the digital age, which is predicated on flexibility and malleability. A DoP shooting to bake the image in-camera will invariably leave the Editor and Colorist with very little room to move, very little latitude to manipulate the image in post.
Digitally inexperienced DoP’s, in an effort to secure a particular mood in-camera, may often underexpose an image. Ask anyone who has taken a hand to color grading will discover immediately it is very easy to darken an image but near impossible to lighten it without overt visual noise. What color grading needs to build a look or mood is good vibrant exposure with lots of detail and latitude. As such the digital DoP should be aiming to err on the side of more light rather than less; what’s known as ‘exposing to the right’. Of course you want to avoid clipping and over-exposing but as a general rule, more light is better than less. You can always make it darker in post but you cannot make it lighter without problems.
As a digital director you may need to ensure you have properly communicated your needs to the DoP; showing them your color grade tests and inviting them to be a part of that process will certainly help. Prompting them to shoot for good post options rather than shoot to the specific look of the film may be a more difficult discussion at times but one worth having.
Increasingly DoP’s are embracing the digital age and seeing color-grading not as post-production but rather an extension of cinematography; the final part of their role in crafting the image of the film. It strikes me that this is an entirely logical progression that boasts great possibility for more integrated collaboration in digital post-production.
Watch your levels
All good dedicated grading software systems, like Magic Bullet Looks and Apple Color, will give you scopes to monitor the levels in your picture. Once you understand what they represent, ensuring that your colors don’t clip is really not difficult. Having broadcast legal colors is, of course, crucial for professional projects and all good systems will give you tools for clamping and kerbing colors to ensure you stay within these limits. But the common mistake of inexperienced graders is to rely on the Auto-Shoulder and Clamp tools that can lead to harsh colors and clumsy results.
The key to not needing the Auto-Shoulder is to monitor your levels constantly as you work. Solve any clipping as you go with individual processes rather than relying on the ‘solve it all’ at the end.
Calibrate your monitor
There is much you can do to calibrate your monitor. Some LCD screens come with built-in color calibration tools. Your graphics card may offer a calibration wizard to let you work through by eye. You can buy or borrow a calibration hardware unit that hangs over the front of your screen to check its registration. There are even a host of free online wizards to help you get the screen as close to a uniform standard as possible. All these are worth exploring. And of course investing in a good monitor to begin with is always smart.
One of the first and fundamental things you can do is set the Gamma of your display. Gamma refers to the apparent relative levels of luminance in the image and one of the areas many get wrong simply because they don’t think to check it. Mac users will want to pay particular attention because the default Mac OS X screen Gamma is 1.8 but the much more common gamma level used by broadcast and TV screens is 2.2.
The standard white point for video display can vary enormously from monitor to monitor and there’s no way to account for what individuals have their TV sets or LCD projectors calibrated to. The best you can do is match your monitor to the white-point ‘most’ screens are likely to be be using. But even here this isn’t so easy. Broadcast standards generally fix 6500k (known as ‘D65′) as the benchmark but most TV’s ship by default set to the ‘bluer’ 9300k. The dilemma for the DIY color grader is whether to go with 6500k to match what the broadcast white point ‘should’ be or grade to 9300k to match what most of users may actually ‘see.’ The real answer is to grade for one of these two and then cross-check the results with the other temperature. If you can get an image that achieves your desired aesthetic results and looks pretty good under either of these two, then you will have created an effective grade.
Substance Over Style
While its easy to get excited about the creative opportunities afforded by accessible and low cost software color grading tools, the trade off is that it’s also easy to get carried away.
Sadly one of the hallmarks of many indie films, digital shorts and student films over the past few years has been gaudy, overdone color-grading. Style over Substance driven by the ‘because I can’ concept.
A great color grade is not one that just looks good; a great color grade is motivated by the film’s themes, character and narrative. A great color grade is one that interprets and supports the film and not just dresses it up in sexy clothes. Very often with grading Less is More, don’t be afraid of subtlety and simplicity.
For the digital indie filmmaker color grading should be seen not as some sacred cow reserved for the high priests, but simply another creative arm of filmmaking to be embraced and exploited.
There will always be a place for the specialist, the unequivocal expert in a particular niche who is able to do things that a generalist could never do. And certainly this article glosses over, or provides simplistic perspectives on, what are otherwise very complex scientific elements. Color Grading is certainly an area where the specialization is a high art. But, this should never be leveraged as an excuse to believe that good results are impossible without a specialist or specialized facilities. The tools are simply too good for that nonsense, too accessible to persist with this obstructionist idea.
Great results are more than possible via DIY on software-only systems in domestic environments. Just as we shouldn’t hesitate to pick up a camera and shoot we similarly shouldn’t hesitate to pick up a computer and grade.
Not all men are created prequel.
What do you mean you don’t get enough filmmaking discussion? You want more???
Well, yeah, so do we.
We’ve scoured the corners of internets and came up with an informative and entertaining list of podcasts covering all aspects of filmmaking: from scriptwriting to special effects, producing to directing, and just plain ol’ yak about our favorite (and least favorite) films.
Download them all and you’ll no reason to be bored for the next couple hundred hours.
Movies, Interviews, and the Filmmaking Industry
American Film Institute offers exclusive filmmaker discussions and audience Q&A sessions as podcasts.
Battleship Pretention is a podcast that represents the kind of conversations that film geeks have when they get together. There are strong opinions, in-jokes, obscure references, and wild tangents. And, since Tyler and David are two of the sharpest wits ever fused together, there are laughs aplenty
a Love-Hate Relationship podcast | Movie reviews and filmmaker interviews. We talk about movies we love, and moves we hate, and we talk to filmmakers that do whatever it takes to get their films made.
Conversations about indie film, film festivals and whatever pops into the heads of Film Thread owner Mark Bell and contributing editor Don Lewis.
The Double Down Film Show is an hour long experience of “real talk” about what it takes to get your project from script to screen. Pete Chatmon and Anthony Artis deliver all of the production, technology, business, and motivational support that filmmakers need to achieve their filmmaking dreams.
Enter the swinging doors of the Hollywood Saloon, kick up your spurs and get drunk with knowledge as Andy and John spin tales from the cinema trails. So strap on the six shooters and get ready for a showdown as the good, bad and the ugly of filmmaking is given the campfire treatment, where outlaw commentary rules the town.
iTunes Meet the filmmaker: iTunes and the Apple Store bring you insights from the makers of today’s biggest films. Subscribe to the podcast to hear behind-the-scenes stories from the onscreen stars as well as filmmaking wisdom from a diverse selection of writers, directors, and producers.
Indy Mogul is the first network for the YouTube generation! Indy Mogul has DIY filmmaking tips, step-by-step cheap special effects, previews of upcoming flicks, and reviews of the hottest pictures at the megaplex.
Hosted and produced by veteran entertainment journalist, commentator, author and film festival director Tanya Kersey, and co-host Tiffini Bowers, this entertainment industry talk show features engaging, informative, compelling and up close and personal conversations with a wide range of Hollywood movers and shakers from filmmakers, writers, directors and producers – to agents, talent managers and studio executives.
New Mediacracy is an audio podcast about the world of web video and new media featuring industry producers, directors, writers, and other content creators.
Shadows and Light is a cinema podcast featuring the likes of Woody Jones, Matt Smith, and Pierce Cook. We’re here to throw out our own brand of cinema discussion as well as offer interviews featuring new and familiar faces, production discussion (some of us make movies, too), and and anything else that we opt to throw into the mix.
Showbiz Sandbox is a podcast featuring industry professionals J. Sperling Reich, Karen Woodward and Michael Giltz’s humorous viewpoints, insightful analysis and insider opinions on the latest entertainment news headlines. The weekly podcast features renowned industry guests, as well as phone calls and emails from listeners who voice their own opinions on the child’s play of the entertainment business.
In the /Filmcast, hardcore geeks/bloggers/journalists David Chen, Devindra Hardawar, and Adam Quigley debate, pontificate, and delve into the latest films, film news, television shows, and entertainment-related items from the past week. Weekly guests include everyday bloggers, webmaster luminaries, and movie stars from all walks of life.
Comprehensive Filmmaking Podcasts
Dedicated to the creative process of visual storytelling, 2 Reel Guys shows that telling a good story doesn’t require a lot of money – a lot of gear – or a lot of people.Norman Hollyn heads the Editing Track at the University of Southern California (USC) School of Cinematic Arts. Larry Jordan is a world-renowned digital media trainer, lecturer and Final Cut Studio expert.
The Set to Screen Series is your chance to learn about filmmaking from Baz Luhrmann, director of Moulin Rouge! and Romeo + Juliet. Baz and his production team will take you behind the scenes of their upcoming movie Australia–and inside the creative process. The Set to Screen podcasts will allow you to explore on-set still photography, costume design, scoring, editing and more.
From Triune Films and writer/director Ryan Connolly comes Film Riot, a hybrid of sketch comedy, tutorial, reality TV and a whole lot of nonsense, with the ultimate goal of teaching the art of independent filmmaking. Whether it’s low budget effects or how to create a film from writing all the way to editing, no corner of filmmaking is left unexplored.
Film Method is the podcast that will take you through the nuts and bolts of independent filmmaking. In a roundtable discussion format we will meet guests from all walks of filmmaker life who will share their golden nuggets of wisdom about everything from hiring a producer, to finding a composer, to seeking out investors.
Write it, Shoot it, Work it! The New Generation of Independent Filmmakers!!!
Indie Movie Cast is a podcast for the struggling indie filmmakers; the starving actors; the thankless crew members, the wishful thinkers; and the movie lovers. INDIE MOVIE CAST details the journey of the talented, hopeful, and penniless indie filmmakers of Ultimatum Pictures. Be with them from prep to wrap as they make movies and try to live their dreams.
Directing and Writing
Director’s Notes is a weekly podcast dedicated to independent filmmaking. Each week we feature in-depth interviews with directors, discussing how they took their ideas from concept to screen. We also bring you our featured films, so you can be entertained by the best in drama, music videos, animations, documentaries and experimental art pieces, whilst our guests reveal just how great films are made.
Learn about the art, craft and business of screenwriting with warmth, humor and insight. In-depth interviews, varying perspectives and gems of knowledge garnered through hard-earned experience. The founder of The Script Department, Hollywood’s premier script coverage service, Julie Gray also directs the Silver Screenwriting Competition and authors the popular screenwriting blog,
Two aspiring filmmakers and screenwriters discuss tactics and methods related to perfecting your craft, producing your own films, and breaking into Hollywood.
Join professional script consultant Pilar Alessandra as she demystifies screenwriting and answers your questions about script craft and story.
Jeff Goldsmith interviews screenwriters and filmmakers alike about their creative process.
Screenwriting Guru Syd Field guides listeners through the tips and techniques of writing screenplays.
The podcast channel for Script Magazine covering all things about writing for the movies and television.
The Screen Directors Guild of Ireland (SDGI) brings Directors and other professionals of the audio-visual industry together to discuss their own work, their favourite films, and bring other art forms and mediums into the mix. If you are a film lover and dream about listening to your favourite Director talk about his/her creative vision behind a film, this podcast is for you. Sit back, relax and enjoy the chat.
1000s of free, downloadable movie scripts and movie screenplays on the internet. Searchable database of movie, television, radio, anime scripts, transcripts and plays. A screenwriting resource.
Watching the Directorsis aimed at looking behind the camera – behind the actors, set designers and musicians. Every episode focuses on the vision, work and themes of a film director.
Tech, Techniques and the Business of Film
American Cinematographer magazine interviews cinematographers, directors and other key collaborators involved in creative process of bringing film and television projects to the screen.
Join cinematographers speaking with fellow cinematographers in frank discussions about their work on film and television productions. Sit in on these intimate conversations and learn practical and philosophical secrets about cinematography and filmmaking.
Backyard Effects comes to you every Monday and is hosted by a zero-budget effects wizard Erik Beck. Erik shows you how to create special effects that YOU request the fun and cheap way, and then subjects his friends, siblings, roommates, and puppets to his creations.
The Cutting Room is a part of The Art of the Guillotine’s podcast section. Each week we interview editors from around the world about their technique and approach to film editing.
The Film Producer’s Podcast is for Producers, or anyone who wants to better understand how films get made. The main focus of the podcast is our interviews with working feature film producers, to hear how they successfully navigate development, film finance, production, sales and distribution while making a profit.
VFX, Motion Graphics, and production news
A weekly in-depth conversation with digital filmmakers covering topics related to pre-production, production and post. We talk workflows, HD, 3D, Stereography, Final Cut, Avid, Compositing, plus much more! All of our guests are presenters from our digital filmmaking webinars at FilmmakingWebinars.com.
The DiY Filmmaking Podcast takes you to a happy place each week to bring you news, tutorials, and other cool stuff for your productions.
Video production questions answered- audio techniques, camcorders, video editing, DVD authoring, tricks, tips or final distribution. If you’re completely stumped or just need advice, you can interact and get your questions answered or just listen and learn. One super experienced host and a crack team of 13 seasoned professionals are ready to help on even the most complex technical issues in a fun and engaging show designed for everyone.
Film and video makers love gadgets. We flock to any new technology that demonstrates the slightest potential to help us conceptualize, visualize and digitize our creative visions. So why have we neglected that touch-screen powerhouse already in our pocket? Hand Held Hollywood explores how Apple’s iPhone, iPad, and iPod Touch can aid in nearly every aspect of film and video production.
Find episodes that put you on the fast track to creating the hottest motion graphics and visual effects. The shows feature one or more Red Giant products used in combination with the tools built-in to After Effects, Final Cut Pro, and Premiere Pro. Host Aharon Rabinowitz demonstrates the techniques you need to produce higher quality work in less time.
That’s 40… oh yeah… one more. You definitely need to check this one out.
Check out weekly podcast where we’ll chat about film, filmmaking, and the week that was and all the interesting articles, forum discussions and fun stuff from FilmmakerIQ.com
In effort to see just how much detail you could possibly see in one image, Japanese researchers have developed a 33 Megapixel video camera housed in a completely unergonomic computer case. In case you’re wondering, 33 megapixels is called “Ultra High Definition” or “Super Hi-Vision” and the image weighs in at 7,680 x 4,320 of video goodness. That’s roughly four times as the area of RED’s 4k.
Dan Glass, Visual Effects Supervisor for Terrence Malick’s “The Tree of Life” discusses the visual design and how they put together a sequence that goes all way back to the creation of the universe.
…Considered by many to be an enigma because of his reclusive nature and the long gaps between his films, American director Terrence Malick returns to the big screen with The Tree of Life (2011). Partly autobiographical, the story revolves around a boy growing up in the 1950s American Midwest whose relationship with his strict father and nurturing mother haunts him into adulthood. Featuring a cast of Brad Pitt (Se7en), Sean Penn (Mystic River), Jessica Chastain (Jolene), Joanna Going (Inventing the Abbotts), Jackson Hurst (The Mist), Fiona Shaw (Fracture), Crystal Mantecon (The Waiter), and Tamara Jolaine (Tough Love), the drama ignited worldwide curiosity when word came out that it included footage involving the formation of the universe. Could this be the resurrection of the mysterious project Q which was to explore the origins of life on earth? Given the responsibility of creating the nonexistent imagery was Visual Effects Supervisor Dan Glass, who has worked with the likes of Christopher Nolan (Batman Begins) and The Wachowski Brothers (The Matrix Reloaded, The Matrix Revolutions, Speed Racer).
— Flickering Myth| Read The Full Article
Woody Allen pontificates on the origins of the title “Midnight in Paris”, his latest movie starring Owen Wilson, Marion Cotillard, Rachel McAdams and Adrien Brody.
…THE preview at MoMA calculated to ignite euphoric Oscar buzz over the studio’s new $60 million comedy ended and the lights came up, revealing an audience of 400, stiff, with eyes shut, bringing to mind what it must have been like when outsiders first stumbled upon Jonestown. As the local opinion makers revived and shuffled through the exits, I bumped into Philo Cubbage, a schmendrick I knew from the periphery of show business who surfaced intermittently over the years with some fresh scheme for achieving bankruptcy. After the customary exchange of insincere remarks about how neither of us had aged, we agreed to masticate a pair of sirloins and repaired to Upchuck’s, where we could dine and disembowel the film we’d seen at leisure.
— New York Times | Read The Full Article
In cooperation with Canon, the technicians at Technicolor have spent the last 12 months developing color profile settings for Canon HDSLR cameras that offer much more dynamic range. This is achieved by putting the camera’s standard H.264 REC709 color space into a log color space which allows much more freedom in picture manipulation in post. These profiles are available for free to download on the Technicolor website:
…The Technicolor CineStyle™ is a Picture Style (profile) for Canon EOS DSLR cameras that optimizes the dynamic range in the image by leveraging the capabilities of the Canon imaging chipset. Cinematographers and their post-production partners will have greater flexibility in color grading and finishing their projects.
— Technicolor | Read The Full Article