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MUST WATCH: SUPERCELL 4K. Severe storms and tornadoes in 4K, by Alister Chapman (02:03)

Posted by Alister Chapman on June 10, 2013 • 

In memory of Tim Samaras, Paul Samaras, Carl Young • 

 

"So here it is… a short compilation of clips shot across 10 days in the US this May. To get these shots I drove over 3,500 miles criss crossing the states of Oklahoma, Texas, Nebraska, Kansas, Colorado and South Dakota. It was a trip that started and ended with some tragic events and left me quite unsure of my own emotions and thoughts with regard to storm chasing, something that has been a very big part of my career, business and life for nearly 15 years.

 

(...) My shooting kit included my PMW-F5 with R5 raw recorder, a selection of DSLR lenses (Canon mount), a Miller Solo tripod, media, batteries, chargers, and a whole bunch of storm chasing electronics and computers. When your packing in a hurry like this a check list can be a life saver. Forgetting something as simple as a cable when you won’t have time to find a replacement can ruin a shoot. 24 hours later, me and my 75Kg of gear were in Oklahoma City."

...

 

Read more on XDCAM-USER.com


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Movies In Color: The Piano, 1993. Cinematography: Stuart Dryburgh

Movies In Color: The Piano, 1993. Cinematography: Stuart Dryburgh | Cinephile | Scoop.it

Posted by Roxy Radulescu on May 27, 2013 • 

 

"Female Directors Week - Jane Campion

The Piano, 1993 Cinematography: Stuart Dryburgh"

 

Via Mike Ritchie:

"If you're interested in cinematography and colour, then it's worth taking a look at moviesincolor.com by @RoxyMakesThings. Great work!"

 

"Movies In Color is curated and created by graphic designer Roxy Radulescu (RoxyMakesThings).


The idea started when I was watching Skyfall. I was taken with the cinematography and use of color more-so than the story itself. I wanted to find out what colors made up certain stills and after making a few color palettes for Skyfall, took it a step further by extending it to all films and starting a blog.

 

So far, the blog has not only been an aesthetic pursuit but also an educational pursuit that showcases the relationship between color, cinematography, set design, and production design. Overall, it is a study of color in films, but has other uses and applications. One of the goals is to give artists color palettes they can use in paintings, films, videos, graphic design, and other pursuits.


The Process. Research is first. I search for stills that are compositionally interesting as well as rich in color. I use the help of a color generator to get a very basic range of swatches. Then I piece together the general palette from that and other colors I think are prominent or worth including from the still. It’s all done in Photoshop to keep layout and swatch sizes consistent and to facilitate color sampling from the image."

...

 

moviesincolor.com


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Cinescopophilia: A Farewell Message from Fujifilm Motion Picture UK

Cinescopophilia: A Farewell Message from Fujifilm Motion Picture UK | Cinephile | Scoop.it

Posted by Vision Wrangler on March 27, 2013 • 


"On CML the message was clear, Fujifilm UK has been going at it since 1934 supplying motion picture film stock to the professional film industry, but now sadly on the 28th of March 2013 the front door closes. Shop shut as they say. There is however one small glimmer of sunshine left but the sun has pretty much set. The last remaining two million feet of Fujifilm camera negative film stock in Europe is available at Film Stock Clearance. After that well it’s all digital."

...


Cinescopophilia.com


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Karasch & Associates Legal Video's curator insight, March 27, 2013 12:44 PM

 Digital cinema is to film what TV is to "the radio star." It sad to watch film fade away...

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Timeline: A History of Editing goes digital with lots of new material. By Scott Simmons

Timeline: A History of Editing goes digital with lots of new material. By Scott Simmons | Cinephile | Scoop.it

Posted by Scott Simmons on March 14, 2013 • 

 

"Timeline: A History of Editing is an amazingly detailed book about just what the subtitle says, a history of editing. Written by John Buck, Timeline is something we’ve spoken about before but it recently got even better with the release of Timeline: Digital Edition One. This iPad specific book is updated for iBooks on the iPad with “photographs, video material, original brochures and animated patents, as well as audio clips and exclusive interviews that document the lives of editors and the craft of editing from the very beginning.”

 

This new digital edition comes from the first volume of the book and covers the years from 1888 to 1971. That doesn’t include the digital era we’re currently living in and the NLEs we’re all familiar with but it’s full is fascinating stuff about the origins of the craft of editing as well as many of the tools. It’s very thorough and a quite fascinating read."

...

 

ProVideoCoalition.com


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Alexander Martinez-Harris's curator insight, April 15, 2015 12:44 AM

Ideas for editing

Marcus Ja'mol Norman's curator insight, April 21, 2015 5:58 PM

very interesting and inciteful article 

 

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SXSW 2013 Film Awards: Title Design Finalists (19 Videos)

SXSW 2013 Film Awards: Title Design Finalists (19 Videos) | Cinephile | Scoop.it

Posted by Art of the Title on March 6, 2013 • 


"We’re happy to announce that next week, Art of the Title returns to Austin, TX for the 2013 SXSW Film Design Awards. Editor-in-Chief Ian Albinson will again be a juror, and joining him this year will be Paul Babb, President/CEO of MAXON Computer, Inc., and Designer Kurt Volk (also a returing juror) from the Austin-based Troublemaker Studios.


The title design screening will take place Monday, March 11th, at 9:30pm in the Vimeo Theater and will showcase this year’s 19 finalists (also viewable below)."

...

 

ArtoftheTitle.com


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The State of the VFX Industry with Scott Ross & Scott Squires (38:58)

Posted by Micah Van Hove on June 1, 2013 • 

 

"As many of you know, the VFX industry is going through its own turmoil these days, with many of the hardworking artists taking the brunt of the dissatisfaction. Back in March there was a protest at the Oscars after the Life of Pi incident after Rhythm & Hues went bankrupt even after winning the Academy Award. If you want to know the future of the industry and potential solutions to the problems that VFX workers face, get the scoop from VFX giants Scott Ross and Scott Squires from their recent presentation at NAB:"

...

 

Read more on nofilmschool.com

moviemachine.tv


• About the VFX crisis, you may read also:

digital-cinema-tools.com/?q=Rhythm+Hues


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John Fellows's curator insight, June 2, 2013 6:19 PM

This is is disturbing...

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Ending the VFX Crisis: What Has to Happen. By Peter Plantec

Ending the VFX Crisis: What Has to Happen. By Peter Plantec | Cinephile | Scoop.it

Posted by Peter Plantec on April 16, 2013 • 

 

"As I keep digging deeper into the VFX crisis, it's becoming almost fractal. I try to stay neutral, and it's getting easier as I learn more. Taking sides in this issue will not lead to a solution. It seems all of us play a part. All sides are partly responsible. Getting the studios' side of the story can be difficult, but I'm making headway. They do have some points. Let's take a look at some things I've learned recently."

...


studiodaily.com


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Final Cut Pro X versus Premiere Pro CS6 by Oliver Peters

Final Cut Pro X versus Premiere Pro CS6 by Oliver Peters | Cinephile | Scoop.it

Posted by Oliver Peters on March 16, 2013 • 

 

"The struggle within most shops that invested in Apple’s Final Cut Pro is whether to stay put a while longer, adopt Final Cut Pro X or cut the cord and move on. For many this means shifting to the Adobe Production Premium bundle – part of Creative Suite. Most of the editors and facilities in my sphere are doing just that. I’m one of only two local editors that I know of, who is actually using FCP X professionally. The rest are in the process of shifting to Premiere Pro, while maintaining some continued use of FCP “legacy”. This post is not intended as a “shoot out” or to say one is better than the other. Both are good tools and much of the choice gets down to personal preference. Instead, my goal is to lay out some random considerations in making the move."

...

 

digitalfilms.wordpress.com


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Basic Lighting Lesson: Understanding Hard Light and Soft Light. By Joe Marine (02:55)

Posted by Joe Marine on March 15, 2013 • 


(...) "While some of you may be familiar with the finer points of lighting, I think it’s always helpful to get a little bit of a refresher. If you look at Hollywood films, there are various uses of hard lights and soft lights, but most often hard lights are used to fake daylight (since the sun itself is a hard source). There are certainly other instances when a light is left unfiltered and hard, but very often, most lights on a set are going through some sort of diffusion or are being bounced off of a surface — unless, of course, you’re making a film noir, in which case, everything is a hard source with hard shadows."

...

 

Read more on NoFilmSchool.com


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A. Belén A. Rutia's curator insight, March 17, 2013 12:07 PM

El uso de la luz dura y luz suave para crear la iluminación y sombras necesarias en películas.

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‘Blue Valentine’ DP Andrij Parekh: ‘People See Movies for Great Performances, Not Nice Photography’. By Joe Marine (21:38)

‘Blue Valentine’ DP Andrij Parekh: ‘People See Movies for Great Performances, Not Nice Photography’. By Joe Marine (21:38) | Cinephile | Scoop.it

Posted by Joe Marine on February 23, 2013 • 


"There is no question the director of photography is one of the most important jobs on set. The DP helps the director set the look of the film, and depending on their working relationship, may actually have quite a bit of influence on the final film. In the end though, the DP’s job is to help the director get the movie “in the can” at all costs, even if that means sacrificing time for lighting and camera moves. Blue Valentine director of photography Andrij Parekh sat down with Craft Truck, a website that focuses on discussions with technical storytellers from the world of film, to talk about his career and how he sees the role of the cinematographer."

...


NoFilmSchool.com


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