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Rescooped by paolasantisteban from CINE DIGITAL ...TIPS, TECNOLOGIA & EQUIPO, CINEMA, CAMERAS
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The Making of Gravity | Jonny Elwyn - Film Editor

The Making of Gravity | Jonny Elwyn - Film Editor | cine | Scoop.it
For an comprehensive round up of all the best behind the scenes insights, videos, photos and interviews for Alfonso Cuaron's stunning Gravity click through!

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VIDEOWORLD's curator insight, January 21, 2014 9:55 PM

El atrás de cámaras de Gravity, excelente post

Rescooped by paolasantisteban from WorkingCinematographer
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RED cameras absent from all Oscar cinematography and best picture nominees » EOSHD.com

RED cameras absent from all Oscar cinematography and best picture nominees » EOSHD.com | cine | Scoop.it
SetLife Magazine (a recommended follow on Facebook) has compiled technical specification slates showing us who shot on what when it comes to the big 2014 (RED cameras absent from all Oscar cinematography and best picture nominees

Via KRONOSFILMS, blackespresso
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blackespresso's curator insight, January 23, 2014 7:17 PM

Interesting that ARRI has dominated all the films this year

 

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Jonah Hill payé 160 fois moins que Leonardo DiCaprio dans Le Loup de Wall Street

Jonah Hill payé 160 fois moins que Leonardo DiCaprio dans Le Loup de Wall Street | cine | Scoop.it

Avec ses dents beaucoup trop blanches, il crève l’écran dans le dernier film de Martin Scorsese. Pourtant, Jonah Hill a touché un cachet qui semble ridicule, comparé à celui de Leonardo DiCaprio.


Via JEROME PATALANO
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IKONOSKOP Workflow: Creating Real Value - First notes on working with cinemaDNG, by Jesse Borkowski

IKONOSKOP Workflow: Creating Real Value - First notes on working with cinemaDNG, by Jesse Borkowski | cine | Scoop.it

Posted by Jesse Borkowski on January 24, 2014 • 

 

... "One of the main reasons I was interesting in varying the lenses as an effect was because in my experience the image you get out of the Ikonoskop A-Cam dII is highly-dependent on the glass you put in front of it. The image quality of some cameras seems to be limited by the sensor, with the Ikonoskop it is really only limited by the lens. So, I approached using different lenses as using different brushes. Some were sharper, some were softer, some vignette - with vintage lenses it’s all about controlled variation.

 

The difficulty came when it came time to grade the film. Each lens has its own unique characteristics, and responds differently under different lighting conditions. While this was my original intent, restricting the variation to an acceptable level in post-production was incredibly time consuming. I essentially had to grade the film shot, by shot, adjusting for each lenses specific quarks. I couldn’t just create a look, apply it universally to the film, and get a good result."

...

 

NothingUnderground.com


Via Thierry Saint-Paul
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Jibra'el Jb's curator insight, January 26, 2014 10:23 PM

my classmate's step-aunt makes $72 /hour on the computer . She has been without work for eight months but last month her check was $21514 just working on the computer for a few hours. pop over here..

www.yujobs.com

Laura Galindo's curator insight, May 13, 3:29 AM
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