Need some CG flying shells for your prop gun? Vidmuze just released 3 different 3d gun shells that rotate in a 360 degree loop, simulating a shell ejecting from a gun. These include: .45 Cal Pistol Shell, .223 Rifle Shell & 12 Gauge Shotgun Shell which is available for download at their website.
Jeff Foster recorded these interviews with the pioneers of compositing in 2009 for his book called The Greenscreen Handbook. He has made these interviews publicly to educate and inform people about these historic times from the early days of VFX compositing through modern-day techniques.
Inventor of the Sodium Vapor Compositor and the Blue Screen Color Difference Traveling Matte & Multiple Oscar recipient
Since receiving his engineering degree from the University of California at Berkeley in 1941, Vlahos has served the motion picture industry as a design engineer, field engineer, systems engineer and as the Chief Scientist for the Association of Motion Picture and Television Producers’ Research Center.
Considered to be one of the leading scientific and technical innovators in the motion picture and television industries, Vlahos consistently devised solutions for problems that had resisted years of well-funded and concerted effort by his predecessors and peers.
Vlahos has more than 35 wide-ranging patents for camera crane motor controls, screen brightness meters, safe squib systems, cabling designs and junction boxes, projection screens, optical sound tracks and even sonar. He also created analog and digital hardware and software versions of Ultimatte, the first high quality electronic compositing system.
As the original patents ran out, many other present-day digital blue screen and green screen compositing systems were derived from Ultimatte and joined it in the marketplace. As a result, every green screen or blue screen shot in innumerable films (including every blockbuster fantasy film of recent times) employs variants of the original Vlahos techniques.
Co-founder of Ultimatte and developer of modern compositing technologies.
Paul Vlahos, son of Petro Vlahos and co-founder of Ultimatte Corp. in 1976 and continues as CEO. Paul founded iMatte Inc. in 2000 and serves as CEO. He has made many inventions over the years have resulted in over twenty patents. Besides the Ultimatte matting devices used in the broadcast industry Paul pioneered the Virtual Studio in 1989. In 1993 Paul revolutionized the motion picture industry with the first software to win an Oscar. The KnockOut matte extraction software changed the print graphics industry in 1999. iMatte has introduced Sightdeck, a unique production, distance collaboration display system, which you can see in-person at NAB in April in Las Vegas.
Paul’s contributions to both Ultimatte and iMatte continue to create ground-breaking innovation and technological landmarks in the visual entertainment and business/communications industries.
Sr. Vice President of of Advanced Digital Imaging at Panavision.
John Galt is one of the pioneers of modern-day digital camera and compositing technology. His influences reach back to leading the teams that developed the Panavision/Sony HDW-900 “Star Wars Camera” for George Lucas to the current day Panavision Genesis which features a 37 megapixel true 4:4:4 sensor. He is a pioneer that is still actively developing new technologies today. In this video interview, John tells a bit of history and his insights to the future through his knowledge and experience – and dispels some of the myths about the so-called “4K camera technology” some manufacturers are claiming these days!
There’s much buzz about the Black Magic Cinema Camera and the lack of footage coming. John Brawley, the Award Winning Australian Director of Photograhpy working with Blackmagic Design, has release some more footage showing off the dynamic range and capability of this camera.
The following is taken from John Brawley’s first blog entry: Pool Shark. The screen grabs are from the video which was recorded using the ProRes Codec.
This shot was accomplished with only a Kino and a 1×1 Lite Panel. Shot with an 18mm Zeiss Prime.
Shallow Depth of Field – Probably the 85mm Zeiss Prime -John Brawley confirmed this was shot with the Zeiss 50mm.
John has put out a round up of various different color grades that he and colorist Annelie Chappel applied.
They really really look best when viewing in video space, not on a computer. I say this because this is how we graded them. So do me a favour and look at them on a monitor or TV rather than on your laptop or computer screen please ! This is how we graded them. This is how we want you to watch them.
If I can paraphrase, Annelie was also very impressed by how the images sat with their system (even though they don’t grade with Resolve). She’s clocked up hundreds of hours grading Alexa material and said to her it felt very similar. She mentioned that she was making the same default grade moves as she would with the Alexa and that it has a lovely softness to it (meaning more DR rather than resolution)
If you think what camera you shoot on is the answer to great storytelling, then I challenge you with this… Go make a big pile of money doing whatever you want; like a brilliant new app or an alternative energy source. Once you have the cash, you can buy the very best camera. Then you’ll be able to tell the best story, right?
Cameras don’t tell stories, people do. Since we can all agree this is the case, there is really only one thing you need to tell great stories… YOU. However, none of us are born knowing anything about the tools of the trade. In an effort to improve the one tool all storytellers have in common, their mind, a must-have addition to their library is Joseph V. Mascelli’s The Five C’s of Cinematography. I picked this book up a few years ago, and I have learned more from it than any other resource on the subject. I’ve been to courses, classes, looked to chat rooms online, and experimented by trial and error; but none of those things have come close to the pure undistilled story driven explanation of cinematography found in Mascelli’s classic book. In his own words from the introduction:
“On many occasions during the years devoted to preparation and writing of this book, I have felt that defining, explaining, clarifying and graphically illustrating motion picture filming techniques in an easy-to-understand way – is impossible – but not quite. Most professionals instinctively know the right way to film the subject – but seem unable to explain just how they do it.”
The 8th “Hobbit” Production Video Blog from Peter Jackson. This production blog includes the “Hobbit” at Comic Con including all the actors like Martin Freeman and Ian McKellen. With the Hobbit done filming principal photography, the long post-production process has begun. Future installments of the video blog will include a look behind the scenes of post-production.
Skydiver Felix Baumgartner will leap from 120,000 ft (36,600m or 22.7 miles) breaking the previous record set in 1960. This Red Bull Illume clip “Shooting in the Stratosphere,” covers how they’ll document the jump including using an array of RED Epics.
Have you ever wondered how to design a logo for your filmmaking business?
The best way to start the logo design process is to write down some words describing your independent production company or your films. Try to think of what your brand should represent and decide what impression you want the logo to impart to the audience. For example, if you are making comedies or funny shorts, you can try to communicate a friendly or ironic message to your target audience – if you’re more focused on horror movies or action movies, choose a dark or intense atmosphere.
If you need help, you can organize a brain storming with your friends and compare their ideas. At the end you need to build a single, clear message about your brand.
Knowing other famous logos can also give you a great insight into what makes a good design. Be careful with taking example from old logos which are very sophisticated and full of details! They are still used because of their historical meaning.
I often ask my students and clients this question. Invariably, among the answers are The Big Chill, Crash and Gosford Park. Now there’s only three films, spread over a long period of time. And the writers each had significant experience before venturing into multi-protagonist drama.
Also, they each had a particular type of experience.
Barbara Benedek, who co-wrote The Big Chill with Lawrence Kasdan, had written for television for 3 years. Robert Altman had a career of 10 years in TV before venturing into feature film. Paul Haggis? Twenty years.
So it should tell you something if 1) the writers of your favorite multi-lead drama came from TV and 2) there aren’t too many true multi-protagonist stories doing well at the box office.
Looking more closely at the multi-protag stories some beginning writers are trying to tell, it seems mostly aren’t true multi-protag stories.
They are instead one of the following:
“Viral Video” is the signature phenomenon of internet media. Something akin to pop songs, these videos with irresistible hooks have saturated video culture online and have now evolved into a multitude of sophisticated forms. Whether rooted in comedy, spectacle, schadenfreude, cuteness, politics, performance, or deep meaning, the idea of viral videos, and the huge audiences they generate, have forever changed the values and potential impact of video online.
Jonah Peretti, Buzzfeed
Kevin Allocca, YouTube
Brad Kim, Know Your Meme
Dan Gurewitch, College Humor
Mark Douglas and Todd Womack, Key of Awesome
Michael Learmonth, Advertising Age