In this session, HP will show you the power of Thunderbolt 2 and why it’s needed for the ever changing next generation of video: 4K. The introduction of 4k video to the masses is delivering the unprecedented levels of quality and realism that audiences demand. 4k also brings with it massive amounts of data that can take traditional video workflows down to a crawl. In the face of the ever-increasing requirement for a lightning-fast video editing pipeline, HP Workstations and Thunderbolt 2 are powering a new generation of interconnected devices designed to accelerate your workflow.
Nathan Rabin created the term “Manic Pixie Dream Girl” back in 2007… he’s sorry he did.
When I coined the term “Manic Pixie Dream Girl” in an essay about the movie “Elizabethtown” in 2007, I never could have imagined how that phrase would explode. Describing the film’s adorably daffy love interest played by Kirsten Dunst, I defined the MPDG as a fantasy figure who “exists solely in the fevered imaginations of sensitive writer-directors to teach broodingly soulful young men to embrace life and its infinite mysteries and adventures.”
That day in 2007, I remember watching “Elizabethtown” and being distracted by the preposterousness of its heroine, Claire. Dunst’s psychotically bubbly stewardess seemed to belong in some magical, otherworldly realm — hence the “pixie” — offering up her phone number to strangers and drawing whimsical maps to help her man find his way. And as Dunst cavorted across the screen, I thought also of Natalie Portman in “Garden State,” a similarly carefree nymphet who is the accessory to Zach Braff’s character development. It’s an archetype, I realized, that taps into a particular male fantasy: of being saved from depression and ennui by a fantasy woman who sweeps in like a glittery breeze to save you from yourself, then disappears once her work is done.
When I hit “publish” on that piece, the first entry in a column I called “My Year of Flops,” I was pretty proud of myself. I felt as if I had tapped into something that had been a part of our culture for a long time and given it a catchy, descriptive name — a name with what Malcolm Gladwell might call “stickiness.”
But I should clarify a few things here. The trope of the Manic Pixie Dream Girl is a fundamentally sexist one, since it makes women seem less like autonomous, independent entities than appealing props to help mopey, sad white men self-actualize. Within that context, the phrase was useful precisely because, while still fairly flexible, it also benefited from a certain specificity. Claire was an unusually pure example of a Manic Pixie Dream Girl — a fancifully if thinly conceived flibbertigibbet who has no reason to exist except to cheer up one miserable guy.
Salon | Read the Full Article
Corporate video is often times a good way for filmmakers to supplement their income. Here’s some guidelines for creating a Corporate Event Video.
Event planners are doing more now than ever before. They are the backbone and visual wizards for corporate events. They allow their imaginations to come to life with eye catching visual displays and set up the perfect itinerary that caters to every want and need of their guests. But, behind the scenes there is a new trend arising, and it is one that is very beneficial to any corporate event. Although event planners are very critical to a successful event, videographers are also coming into play by creating memories for the beneficiaries and attendees by the means of a “Happy Face Video”. A Happy Face Video is exactly what it sounds like, a video with lots of happy faces!
Corporate event planning videos are videos that encompass all the things that went on during the duration of an event, whether it is a day, a weekend, or a week. These videos are usually called “Candid’s” or, “Happy face videos” event in which a multiple-day event is covered by a video crew, including speakers, break-out sessions, awards ceremonies and local recreational activities in which the conventioneers participate. Happy Face Videos show all the fun activities, seminars, networking and smiling faces that went on during the period of the event. An on-site editor then creates a short video presentation that is shown before the close of the convention. Many associations take advantage of the convention venue to gather interviews of their principals, setting up a green screen or other type of background in a secluded room. Happy face videos bring an event to life, it is the last thing attendees will remember of their stay, and allow them to reminisce of how much fun they had while learning their trade and meeting new people in the field. These videos are the most important detail to any successful event; all attendees will go home pleased, eager, and enthusiastic to come back for your next exhibition.
Crews Control | Read the Full Article
Francis Buckley shares his experiences and knowledge that he picked up working with some of the best in the music industry, including Quincy Jones, Bruce Swedien, Glen Ballard, Frank Sinatra, Black Flag, Alanis Morisette and many more. Francis shares his experiences and knowledge that he picked up working with some of the best in the music industry, including Quincy Jones, Bruce Swedien, Glen Ballard, Frank Sinatra, Black Flag, Alanis Morisette and many more.
Gear manufacturers are like that suave douchebag from the bar. They know how to rub the G-spot (gear-spot) to get us to spread our wallets. Well here’s 5 ways to make better photos (and film) that don’t require shelling out more money.
You are a photographer. You love getting out there and doing your best to create great images. Photographers also love something else. Camera equipment. Sometimes you may find that you spend more time searching for a new lens, filter or accessory than actually photographing with it. When you meet other photographers you will hear them talking about the latest piece of equipment that has just launched.
Why is this? Why are some photographers obsessed with equipment. My personal opinion is that we fall into the marketing trap. Sometimes we really do think that a new lens, or new camera body, will improve our images simply because it is a better piece of equipment. That might be true, but it’s only half true. A new lens might make your images a little sharper or have better bokeh, but the best way to get better images is to improve your ability as a photographer. Here are some thoughts that may help you create better images.
Digital Photography School | Read the Full Article
In a series of slides, see how physical space was used to describe the relationship in When Harry Met Sally.
It’s safe to assume that the main theme of When Harry Met Sally is about whether men and women can be friends, since the characters talk about it a bunch. However, on the 25th anniversary of the film’s release, I’d like to offer another reading: When Harry Met Sally, with all of those cute old couple interviews, is a movie about how people come together. Not only is that the story Nora Ephron was telling with the plot, but it’s also the one told visually by director Rob Reiner. In every scene involving Harry and Sally, the physical distance between the two in the frame reflects where they are emotionally. And I mean every scene. Here’s a scene-by-scene slideshow of screenshots, GIFs, and videos that explains what I’m getting at and illustrates how Reiner used spacing in the mise-en-scène to tell this love story. You’ll never be able to watch When Harry Met Sally the same way again.
Vulture | Read the Full Article
Tom Putnam and Brenna Sanchez tell the story of how the made and distributed their documentary Burn through DIY Theatrical distribution.
We disagree because we just spent the last year filling 300- to 2,000-seat theaters in 170 cities with our firefighter documentary Burn. We did it with no distributor, no P&A budget and no experience. And the film has grossed more than $1 million to date in box office alone.
Filmmaker Magazine | Read the Full Article
Film is an innately ambiguous language. Art house films exploit that ambuguity by removing familiar (often hackneyed) elements of story that tell us what to feel. For this reason, art films can be frustrating and difficult to appreciate—but a deeper look can yield deeper rewards. Jonathan Glazer’s Under The Skin augments its unsettling qualities by doing just that: presenting a story completely devoid of benchmarks.
The visuals of both the desolate Antarctic and the ever-morphing alien creatures in THE THING were envisioned long before the movie was shot. Extensive storyboards were drawn by artist Michael Ploog so that all the departments of the production were on the same page in their preparation for the shoot. This is nothing new…but the similarity between the storyboards and the final imagery shot by legendary DP Dean Cundey is staggering. Storyboards are often only a guide, but in this film they were so specifically rendered that they became gospel. The detail and artistry of Ploog’s work up front, allowed the crew to have clear and defined goals on those frigid shooting days in both Alaska and Canada. Via Vashi Nedomansky