Sly Stallone and Apollo Creed – Carl Weathers – demonstrate the precise moves that made Rocky the very first sports film to win the Academy Award for best picture! The masterful choreography made the punches the most exciting in the history of Hollywood boxing movies.
This may be good time to note that the Rocky Musical is heading to Broadway...
Matt Allard of News Shooter discusses with Andy Shipsides of Abel Cine, Jason Wingrove, and Paul Schnieder the topic, “Is DSLR Video Dead?”
Humankind has been looking for the giant squid (Architeuthis) since we first started taking pictures underwater. But the elusive deep-sea predator could never be caught on film. Oceanographer and inventor Edith Widder shares the key insight — and the teamwork — that helped to capture the squid on camera for the first time.
A Full-Size Animatronic T-Rex Puppet gets its foam latex skin at Stan Winston Studio. SWS Dinosaur team members and Legacy Effects co-founders, Alan Scott and Lindsay MacGowan reveal the coring and fabrication techniques and processes behind one of the largest, most iconic characters in film history.
Beyond the groundbreaking design, sculpture, mold-making and mechanical steps required to create JURASSIC PARK’s full-size animatronic T-rex, Stan Winston’s team had to contend with finally SKINNING the mechanical beast – a huge challenge in and of itself.
First of all, due to the sheer size of the character, the SWS team had to adopt an innovative approach to creating the mechanical core. Alan Scott recalled developing the core structure for the necks and tails on the T-Rex and the Velociraptors, “When we were developing the core technology on this, everyone had traditionally been using rings to try and create cores that moved sequentially and we realized that it was going to be hard to organize all those and make them all work. While I was working on the Raptors, I came up with this idea of just cutting [the cores] in a continuous spiral so that it could expand and contract but never lose its shape.”
Stan Winston School | Read the Full Article
The next time you complain about this camera or that camera not having high frame rate capability, remember back to the first portable movie camera that had a 25 image magazine and a rifle stock.
DIY Photography.net | Read the Full Article
In this exclusive SoundWorks Collection profile we talk with the sound team of Director Michael Bay’s new film “Pain and Gain” featuring supervising sound editor and sound designer Erik Aadahl and Ethan Van der Ryn.
Devin Faraci gets a little licked and talks about “Pain & Gain” and why Michael Bay is actually a really good filmmaker.
Film School Comments collects and condenses some commentaries from Ridley Scott films for some of his thoughts and advice on fllmmaking.
The folks behind the Red camera break down the techniques that cameras use to compress color data in this explanation of Chroma Subsampling.
This became a central motivation behind early forms of analog and digital compression. Video signals would be separated into a lightness or “luma” component and two color or “chroma” components, similar to how images can be separated into three red, green and blue (RGB) components. The luma and chroma components would then be referred to as YUV (with analog) or YCbCr (with digital) as opposed to RGB.
Once separated, the chroma resolution would then be reduced by half or more through a process called “chroma subsampling.” The end result is a video signal that appears more detailed at the same broadcast bandwidth, since the luma component occupies a greater fraction of the video signal.
Red.com | Read the Full Article