Richard Wirth covers the history of the ubiquitous timecode – the way that computers can keep track of frames of video:
Still relevant after all these years, time code allows us to easily sync sound to picture in double system workflows. Time code is used in everything from inserting computer generated images (CGI) to closed captioning.
Originally conceived as a means of editing two-inch quadruplex videotape without physically cutting the tape with a razor blade, SMPTE Code has been remarkably versatile and malleable over the years. It individually identifies each video frame, whether it be quad tape or Quicktime file, applying a unique address to every one.
Nowadays with more video formats than ever, the code can be read and controlled with no modification using edit controllers built in the 1980’s during the heyday of analog equipment. The code is equally accurate controlling 24 frame high definition material as it was driving standard definition analog machines.
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Join ‘The Party’ or join the party? On the lighter side of early Soviet cinema.
Most of us were introduced to the silent era of Russian film through the dialectic exercises of Sergei Eisenstein, who combined the intellectual and the visceral in such films asStrike (1925) and Battleship Potemkin (1925) or the dazzling montage symphony that isDziga Vertov‘s Man With a Movie Camera (1929). They are thrilling works with serious themes and a rigorous aesthetic and intellectual approach. But for all their celebration of the proletariat as the collective hero of the great Soviet experiment, the working men and women of the Soviet Union really just wanted to have fun at the movies and the most popular Russian films were indeed light entertainment and energetic comedies. They’ve merely been harder to find than the rousing celebrations of Soviet values and nationalistic displays of great communist victories, films elevated as standard bearers of the era of Soviet Formalism and the editing revolution, at least until recently. In fact, for a long time, the only widely seen example of Soviet comedy was Chess Fever (1925), a comic short spoofing the real-life chess obsession that swept Russia during the 1925 chess tournament in Moscow.
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During Expedition 40 in the summer of 2014, NASA astronauts Steve Swanson and Reid Wiseman — along with European Space Agency astronaut Alexander Gerst — explored the phenomenon of water surface tension in microgravity on the International Space Station. The crew “submerged” a sealed GoPro camera into a floating ball of water the size of a softball and recorded the activity with a 3-D camera.
Here’s the 3D version (you’ll need the Red/Blue glasses to see the 3D)
Sarah Silverman (The Sarah Silverman Program, Bob’s Burgers) sits down with Paul F. Tompkins to talk about winning an Emmy, being obsessed with babies, working on the Obama campaign, getting started in comedy, and moving to LA.
Matt Patches chronicles the history of the director composer relationship between Hans Zimmer and Christopher Nolan
There wasn’t a movie when Christopher Nolan asked the composer Hans Zimmer to compose the music for Interstellar. Before Nolan could direct his space-time odyssey, he had to hear it. More than that: He had to understand his lines, the dialogue his invisible proxy would bellow as Matthew McConaughey confronted mortality at the farthest reaches of the known universe. Though perceptive audiences have often wondered which Nolan characters are the director’s obvious proxies, it’s Zimmer’s commanding scores that speak his voice, show his hand, and make his case. Interstellar needed a beating heart, and Nolan provoked one out of his musical collaborator.
More than a year before filming, Nolan sent Zimmer a letter. Inside was a typewritten note, a melancholy fable about a father and his son. Nolan’s request: Spend 24 hours reacting to the story with music. “I have a son, so Chris knew how to push the right buttons,” Zimmer says of the mysterious preproduction experiment. Zimmer wrote what he describes as “an intimate, musical love letter to my son.” He finished around nine o’clock and rang his director to see if he could send over the composition. Nolan declined. He preferred to drive over and hear it in person.
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Brian Rodda presents seven principles to consider before offering up your first video to the Internet Gods.
In developing any good series, a creative vision must give itself structure to set itself free. Creating a strong intention for whom the intended audience is for your series can save you a massive headache down the line. Obviously, asking oneself this question is not new to the storytelling process — theater, film and TV practitioners ask themselves this at every turn. Having a clear vision of who your targeted audience is helps alleviate any stress down the line when it comes time to promote the series (something you, as the creator, will most likely be spearheading), as you’ll have an organic list of blogs, news outlets, etc. who are already ripe for your series.
A great example of targetting a specific audience would be Tello Films, who actively creates content for an underserved demographic: 25-42 year old lesbians. Digital entertainment is about “super-serving” your niche, and you have to be clear about what niche you are serving before moving forward down the creative path.
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Despite popular misconceptions, women have been on the cutting edge of the genre since its earliest days
If you’re looking for a good new horror movie, there are plenty of directors whose works fit the bill. Leigh Janiak kicked things off last month with a limited release of her film Honeymoon. “Twisted Twins” Jen and Sylvia Soska debuted their latest feature, See No Evil 2, on DVD last week. Sundance selection A Girl Walks Home Alone at Night — cinema’s “first Iranian vampire western,” directed by Ana Lily Amirpour — is hitting theaters in New York and Los Angeles on Nov. 21. Jennifer Kent’s critical smash The Babadook, which won Best Actor, Actress, Screenplay, and Feature at the festival, will hit screens on Nov. 28.
These female-directed films have been framed as work that challenges the “status quo.” But it’s misguided to frame women’s contributions to horror as something unusual. It ignores the fact that most of these women have made horror films before, and that they are just the latest generation working in a genre that has always included influential women.
Movies like Twilight have led critics to note the power of YA fandom — but not how much it has continued a long tradition of girls’ interests in horror. Before Stephenie Meyer, there was L.J. Smith, and before her, Lois Duncan. YA offers bridges to women like Anne Rice, one of the most iconic names in horror lit, and V.C. Andrews, whose Flowers in the Attic was so popular that a ghostwriter was hired to continue her legacy after her death.
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