T’was the Night Before Christmas – a Sneak Peak of the big things to come on Filmmaker IQ in 2017.
Merry Christmas and have a Cinematic New Year.
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sabato 24 dicembre 2016
domenica 4 dicembre 2016
An Innocent Children’s Holiday? Roger Ross Williams on “Black Pete” and his Short Film, Blackface
Admittedly, it was with a feeling of vindication and satisfaction that I stumbled upon Roger Ross Williams’ most recent short Blackface, now streaming on CNN. The Academy Award-winning director — whose feature Life, Animated premiered this week in the US Documentary Competition at Sundance — is a recent transplant to the Netherlands, and his thoughts upon first encountering Zwarte Piet (“My heart sank and I felt a little nauseated”) were a bit different from my own. As a white American, my initial reaction years ago to seeing both kids and adults in blackface and Afro wigs celebrating in the streets […]
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“Stories of Their Pain and Personal Struggle”: Director Paddy Breathnach | Viva
In every film, there is the story that you knew you were telling, the story the audience perceives. But there is always some other story, a secret story. It might be the result of your hidden motivations for making the film, or, instead, the result of themes that only became clear to you after you made the movie. It might be something very personal, or it might be a story you didn’t even know you were telling. What is your film’s secret story? In terms of hidden motivations or narratives I’d say if they are there they are woven deep […]
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giovedì 3 novembre 2016
How the KIRA Robotic Framed the Microsoft Surface Studio
If you’ve been following the lateest word on tech you may have seen the buzz around the new Microsoft Surface Studio:
Now just how did they produce that sleek spot? Well as with any piece of high end advertising, it’s a mix of CG renderings and real live practical shooting. To accomplish the elegant precision of movement in the live demos, Microsoft utilized Motorized Precision’s KIRA.
Simply put, camera systems like the KIRA are a dream for any camera movement enthusiast. Check out more details in the article below.
Premium Beat | Read the Full Article
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venerdì 28 ottobre 2016
It’s Spooky How Long Since We’ve Posted Our Last Video
Many a hallowed eve has past since we last posted a video (well several moons no doubt) so we thought it might be time to dig up a corpses from our past.
If you need some time to kill inbetween the Trick-r-Treaters check out some of our explorations into the world of whore horror: The History of Horror, The Psychology of Scary Movies and The Cinematic History of Fake Blood.
Happy Halloween!!!
As a quick note – yes we are making new videos that will be released when we completely rehaul the site. It’s a million bits and pieces to get working together to do what we want it to do and yes, it’s taking longer than planned. But we haven’t gone anywhere - the best is yet to come
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domenica 16 ottobre 2016
“The Powers of These Magical Young People”: Directors Keith Fulton and Lou Pepe | The Bad Kids
In every film, there is the story that you knew you were telling, the story the audience perceives. But there is always some other story, a secret story. It might be the result of your hidden motivations for making the film, or, instead, the result of themes that only became clear to you after you made the movie. It might be something very personal, or it might be a story you didn’t even know you were telling. What is your film’s secret story? What does a girl-servant of wizards who’s ashamed of her magical powers have to do with a […]
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sabato 8 ottobre 2016
DP Caleb Heymann on Evoking the Early ’90s in Sundance Winner As You Are
The first feature film from writer/director Miles Joris-Peyrafitte, As You Are unfolds as the story of three teenage friends in the early 1990s. Joris-Peyrafitte hired Caleb Heymann, a fellow newcomer to feature filmmaking, to shoot the film. Heymann spoke with Filmmaker about shifting aspect ratios, vintage anamorphic lenses and the execution of a tricky long take. As You Are premiered at Sundance 2016 in the U.S. Dramatic program. Filmmaker: How and why did you wind up being the cinematographer of your film? What were the factors and attributes that led to your being hired for this job? Heymann: Producer Sean Patrick Burke had seen […]
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from Filmmaker Magazine http://ift.tt/1Sy9XQL
venerdì 16 settembre 2016
giovedì 15 settembre 2016
The Marvel Symphonic Universe and a Rebuttal with A Theory of Film Music
Tony Zhou’s Every Frame a Painting released a video essay called “The Marvel Symphonic Universe” in which he criticizes the Marvel universe for missing a strong connecting musical theme.
His conclusion is the sound is overly reliant on the use of temp music. At the time of this posting, the video sits at 2.6 million views.
But is the answer that simple? Zhou’s video very prescriptive, but it misses a lot. Today he shared this rebuttal on his Facebook page from Dan Golding. Watch this for a different perspective.
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What the First TV Ad Ever tells us about our Technological Complacency
After years of unpaid experiments, the FCC officially opened up the airwaves to commercial television broadcasting on July 1, 1941. NBC’s experimental W2XBS in New York City received the first commercial license becoming WNBT. That very same day, at 2:30PM just before a broadcast of a Brooklyn Dodgers – Philadelphia Phillies baseball game, NBC aired the very first television commercial in the world.
That’s the story according to Ad Age, Fortune, Entertainment Weekly, Slate, Adweek, OpenCulture and many more. Even the official Emmy’s site has an image of this very commercial in their write up.
Only one problem - THAT’S NOT THE AD THAT AIRED!!
Here’s a picture of the ad as it was created:
We have corroboration on the design of the advertisement from a piece that ran in Broadcasting Magazine July 14 1941
Further corroboration comes from Jim Von Schilling’s book, “The Magic Window: American Television, 1939-1953”
WNBT aired TV’s first commercial at 2:30PM; i was simply a picture test pattern that had been redesigned into a working clock, ticking off the seconds in front of the TV camera. The sponsor’s name, Bulova, appeared on the clock, which ticked for a full minute at 2:30 and later again that night. Bulova paid four dollars for the afternoon spot and eight dollars for the evening, and afterwards they signed up for thirteen weeks of similar commercials. (page 37)
Okay so a bunch of sites saw a YouTube video claiming to be the first TV ad ever produced and bought it? So what? People make mistakes. I certainly have.
But this mistake sheds light on a common cultural problem – our technological complacency. We live in a world of streaming media and camera phones in every pocket. Recording anything today is trivial.
But that wasn’t the case in 1941. Sure we have lots of films that look great from that era – recording an image onto celluloid film was well established. Recording an electronic television signal however… that was not quite there. The first solution was called Kinescope – and guess what it used? Film.
That’s a film camera taking a picture of a TV screen – yeah… the same way kids today record shows off the TV by pointing their phone at the screen. Video Tape as we know it didn’t come about until the early-mid 50s.
So the only way to watch television in 1941 when this first broadcast was made was to watch it live. No record of these early television days exist, at least not the video portion (they did record the audio). Certainly no YouTube video of the first ad exists.
But we’re so ready to believe because these miracles are so common place today that we expect them to have existed forever. There are so many ways technology makes and shapes our lives that we lose sight of where we are in history.
We lose perspective in our complacency.
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