Modern film and independents owe a great deal to Roger Corman – the man who’s B-films launched the careers of Jack Nicholson, Francis Ford Coppola, Robert De Niro, Martin Scorsese, Peter Fonda, Peter Bogdanovich, and Ron Howard. Here is an interview by Scott Feinberg of The Hollywood Reporter recorded in November, 2011.
If you are lucky enough to live in a country that has free speech, remember there are places where such human liberties don’t exist.
In Syria, the government completely controls the culture. The repression isn’t just secret policemen and soldiers in the street. It is near total domination of all forms of art and communication. Filmmaking receives special oversight. Ironically, Syria has produced a small but significant body of important films, often shown in international festivals and all financed by the government, but they are rarely seen in Syria itself, because of the regime’s fear of public gatherings. Twenty years ago, there were a hundred and twenty cinemas in Syria; when I was there for The New Yorker in 2006, only six were functioning.
I had the good fortune at the time to meet Orwa Nyrabia (also transcribed Nairabiya). He is a big, ironic, bold spirit, whose jolly nature seemed perversely at odds with the grimly repressive atmosphere inside that country. With another producer, Diana el-Jeiroudi, Orwa started Proaction Film, the only independent documentary-film company in Syria. The two of them also created Dox Box, the largest documentary-film festival in the Arab world.
Orwa was one man who quietly stood against the Syrian police state. He was not a revolutionary but he was an independent filmmaker, which inevitably placed him in jeopardy. In this brutalized society, he was also a person who still held onto joy and hope, qualities that are hunted down in Syria by forces dedicated to suffocating the best in human nature.
Last Thursday, Orwa was abducted before boarding a flight from Damascus to Cairo. His disappearance follows the death of another young Syrian filmmaker, Bassel Chehade, who was shot down in the city of Homs in May. Chehade had been studying film at Syracuse University before deciding to return to his country to document the conflict.
The New Yorker | Read the Full Article
Report from “The World”
How do you use perspective and plates to create a portrait of two-Michelin star chef René Redzepi for Premier Class Magazine? Very carefully.
Watch the company Golpeavisa working behind the scenes to craft this shot.
Golpeavisa is no stranger to shooting for Premier Class Magazine. “Usually when we get brief package from our friends at Premier Class, we think of a couple of ideas that work as an outline, often with some references to styles that we would handle or some kind of mood-board to explain what we do with our idea.”
This time they were tasked with portraying one of the the world’s best chefs in Rene Redzepi. They were asked to make make a portrait of Redzepi purely out of dishes and cookware. Blogopeavisa is known for excellence when it comes to graphic presentation, drawings, and vectors. It’s what they do extremely well, and often. This sounded an easy task. But unlike the past, this time the idea was to do everything photographic, without drawing. Ah, a challenge!
F Stoppers | Read the Full Articles
The revived TV show is a new breed of animal. Thanks to DVDs and Netflix streaming, TV shows can now find a core audience even years after they originally aired. Vulture spoke with writer and creator Mitch Hurlwitz on the experience of bringing back the dysfunctional Bluths after six years and laying down the foundation for a future film.
The long-prayed-for resurrection of Arrested Development is now under way: Filming began last month at various locations around Southern California for a new season that will premiere next spring. In his first interview since production on the series resumed, Mitch Hurwitz, responding to our e-mailed questions, was loath to reveal many specific plot details, save for a tidbit about exec producer/narrator Ron Howard appearing on-camera again (“He’s reprising his role as Ron Howard,” Hurwitz said. “We own the rights to Ron Howard completely. I’ve got $20,000 coming in from a Ron Howard pinball machine.”) But while he was sparse with the spoilers, Hurwitz was candid about the emotions behind the reunion, the possibility of an even longer life for the Arrested franchise, and why this experiment may lead to even more TV revivals.
Tell me about the moment when the director of the first scene shouted, “Action.” Did you get choked up?
Actually the first scene was incredibly uninteresting. Jason walks through automatic sliding doors. Dammit, I should have said “spoiler alert.” Okay, [Michael Bluth] walks through some sliding doors — and since the cat’s out of the bag I might as well tell you he walks away from camera in the shot. But no, I didn’t get choked up. Maybe if he was coming toward the camera?
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Liam Neeson is defining the modern day Charles Bronson-esque bad ass. And if wasn’t so deeply inscribed into modern lexicon, one might chuckle at his utterance of words like “tweet” and “Youtube”. But you do not… I repeat… you do not EVER… chuckle at Liam Neeson.
Modern computing is moving towards lower powered and cheaper user interfaces connected via the internet to powerful servers. It was really only a matter of time before this type of cloud computing made its way to the memory and process intensive activity of video editing.
Adobe Anywhere for video allows video teams to collaborate and access shared media across standard networks virtually anywhere they have internet connectivity. Product Manager Michael Coleman and Worldwide Evangelist Jason Levine demonstrate how Adobe Anywhere helps video teams work together and create more efficiently than ever before possible.
Audio is an oft forgotten piece of puzzle when it comes to video production – Videomaker breaks down the world of microphones and which tool is right for the job.
Microphones are an interesting category of video tools, in a geeky sort of way. The primary goal of any mic for video production is the same: convert acoustic energy into an electrical signal for use in recording. But that’s where the similarities end. From that point on, the variations seem endless. At the high-end, there are large diaphragm studio condenser mics that excel at capturing voice and music. At the low-end are the mics in our cell phones, which work well for communication, but not much else. At every point in between, there are specialty microphones for practically any situation when recording audio for video.
Whether you’re working in an audio production studio or shooting in the field, there’s a mic type for you in your sound studio equipment.
Unless you’re shooting with some high-end cinematography camera, odds are that the camera you use has one or more mics built in. It’s also likely that you’re not too impressed with the quality. That’s OK, you’re not alone. There’s a perfectly reasonable explanation for this. Because the mic is attached to the camera, it will naturally be some distance from your subject. When the mic is far away from the source, it picks up everything between the two. So instead of clean, clear voices, you may hear the voices buried in ambient noises or echoes from the room when you’re recording.
This problem has created a completely new category of audio product: the portable audio recorder. When used with external mics or moved close to the source, portable recorders are great solutions. However, many shooters simply plant the audio recorder on top of their camera or mount it to their rig somehow. This is great for gathering crowd noise, but it doesn’t do anything to solve the built-in distance problem.
It’s not really the mic’s fault. In fact, most built-in mics would sound fine in a recording studio or vocal booth. For that reason, it’s possible to repurpose your camera as a voice-over recording rig. Just control the distance between the mic and the voice and eliminate as much background noise and echoes as possible. Unfortunately, as long as the mic is mounted on the camera, it’s best used for recording ambient sound and as a sync reference for separate recorders.
Videomaker | Read the Full Article
Forget shooting guerrilla style, Fishbone‘s new Treepod is for camera ops that want to get above the action in a serious way.
And now for something completely different… Taiwanese support gear manufacturer Fishbone is reaching new heights this week with the launch of it’s Tree-pod. The device, otherwise know as the Zhezhi tripod, can reach 3.3m high, weighs about 13 kg and folds to about 90 cm long. It is aluminium alloy in construction and costs a cool $6000 US. In order to position and level the tripod head you can scale the Tree-pod in a similar way to a telegraph pole. Not sure I would trust it myself, but if heights are your thing then maybe it’s worth it.
DSLR News Shooter | Read the Full Article
Hands-on test with Blackmagic Cinema camera. Rick Young tests the camera in many different situations; getting a feel for the camera in terms of operation, usability, working with different lenses, with a good look at the images the camera produces.
Filmed on location in Perth Australia, this is a real-world report to see just what this camera is capable of. Blackmagic Design have described this as a “cinema camera” – check out the images to see how the camera shapes up in terms of image quality, depth of field, colour rendition and the overall “cinematic” look.
Social psychologist Jonathan Haidt explains how liberals and conservatives see the world differently. How far away is this from being a camera brand fan boy?