In this SoundWorks Collection video, Supervising Sound Editor Lon Bender talks about his work on Director Nicolas Winding Refn’s film “Drive”.
Eve with Realm Pictures talks us through her top 6 tips for quickly adding depth to your shots, and separating the foreground and background.
Love him or hate him, the late Christopher Hitchens was a masterful rhetorician with fiery wit. In this video homage by Vanity Fair,you can view a mere sampling of his brilliant ripostes. As he says, “one wouldn’t be doing one’s job if one didn’t itch to prick.”
Watch: Hitchens on whether he has regrets (Politico):
Directors Sydney Pollack and Steven Spielberg discuss David Lean’s film, THE BRIDGE ON THE RIVER KWAI. Both men find it a film they return to again and again, and count it among those that have influenced their own work.
Panelists: Ina Archer, Independent Media Artist; Sara Driver, director and producer, whose newly restored film, “You Are Not I,” is playing at the festival; Roberta Friedman, independent producer and post production supervisor; Jon Gartenberg, independent curator and President, Gartenberg Media; and MM Serra, Executive Director, Filmmakers Coop. Moderator: Drake Stutesman, Editor, Framework: The Journal of Cinema and Media.
Chris Anderson says the rise of web video is driving a worldwide phenomenon he calls Crowd Accelerated Innovation — a self-fueling cycle of learning that could be as significant as the invention of print. But to tap into its power, organizations will need to embrace radical openness.
Charlie Rose looks at the film “Moneyball” with director Bennett Miller and actors Brad Pitt & Jonah Hill. Among other topics Pitt discusses why he doesn’t want to direct.
In this panel, sponsored by EditFest NY, editors Thelma Schoonmaker, Mark Livolsi, Sabrina Plisco, David Salter, and Allan Title discuss their many problem solving experiences.
In Part I, Thelma Schoonmaker discusses her experiences in editing an improvisational scene from “Raging Bull.”
In Part II, Mark Livolsi discusses the process of cutting down an extended scene from “Almost Famous.”
In Part III, Editor Sabrina Plisco discusses how editors must shift gears and adapt to reactions from preview audiences, as she demonstrates with “Beverly Hills Chihuahua.”
In Part IV, Editor David Salter discusses the intricacies and differences of being an editor on an animated film. In this video he describes his experiences editing “Finding Nemo.”
In Part V, Writer, Producer and Editor Allan Title describes how he crafted a dramatic story out of limited footage for a pilot reality show called “Arctic Roughnecks.”
If you haven’t found that perfect gift for the filmmaker in your life and your wallet is a little thin – here are some cool gift ideas under 20 bucks!.
MIT Media Lab researchers have created a new imaging system that can acquire visual data at a rate of one trillion frames per second. That’s fast enough to produce a slow-motion video of light traveling through objects.
The system relies on a recent technology called a streak camera, deployed in a totally unexpected way. The aperture of the streak camera is a narrow slit. Particles of light — photons — enter the camera through the slit and pass through an electric field that deflects them in a direction perpendicular to the slit. Because the electric field is changing very rapidly, it deflects late-arriving photons more than it does early-arriving ones.
The image produced by the camera is thus two-dimensional, but only one of the dimensions — the one corresponding to the direction of the slit — is spatial. The other dimension, corresponding to the degree of deflection, is time. The image thus represents the time of arrival of photons passing through a one-dimensional slice of space.
— MIT.edu | Read The Full Article