The 10 Worst Casting Decisions in Superhero Movies

By David Zou

Perhaps more so than in your average film, casting the right actors in a super hero film is critical. These are characters that have existed in a particular form in the public consciousness for years, sometimes even decades, and as such, the fans have very specific expectations when it comes to their portrayal.

A home-run casting choice, like Robert Downy Jr. as Tony Stark ,or Heath Ledger as The Joker can elevate a film to legendary heights and even jump-start an entire film franchise. However, a poor casting choice can have the opposite effect, sinking not only a film, but scuttling any goodwill the public has towards both the actor and the character and curb any potential hopes of sequels.

This is a list of the latter. Whether a product of unconvincing performances, victims of poor creative decisions or simply showing a complete disregard for the source material, these are the 10 worst casting decisions in superhero films.

10. Ben Affleck: Matt Murdock/Daredevil, Daredevil

Ben Affleck as Daredevil

In Affleck’s defense, he did possess a real passion for bringing the man without fear to the big screen and wanted more than anything to see it done right. But the fact remains that he simply wasn’t the right man for the job.

His performance seemed at times to be too inspired by Batman, which isn’t a bad thing all its own. After all, there are certain similarities between Daredevil and the dark knight, but there is a fine line between being inspired by something and ripping it off, and Affleck crossed it far too often. And then there is the matter of Matt’s blindness. Daredevil is one of, if not the preeminent disabled superheroes, and it isn’t as though Affleck had difficulty portraying it.

In fact, he pulled it off almost → continue…

From:: Taste Of Cinema

Nori SquareBounce – The collapsible lighting reflector that doubles as an umbrella

By Matthew Allard ACS

The Nori SquareBounce is a piece of kit I’ve been using for years and years, and now they have a new version. If you are not familiar with the product…

The post Nori SquareBounce – The collapsible lighting reflector that doubles as an umbrella appeared first on Newsshooter.

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From:: News Shooter

6 Reasons Why “Terminator 2: Judgment Day” Is a Sci-fi Action Masterpiece

By David Zou

At one point during the hellish climax of “Terminator 2: Judgment Day” (1991)—James Cameron’s fire-and-brimstone sci-fi classic, which has been re-released in 3D—all hope seems lost. The film’s undulating villain, a shape-shifting robot known as the T-1000 (Robert Patrick), is face to face with his target, John Connor (Edward Furlong), in a steel mill, and since John is a 10-year-old and the T-1000 can turn his hands into weapons with no more than a thought, it’s a battle that promises to be monumentally one-sided.

Until, that is, John’s mother Sarah (Linda Hamilton) shows up. Wounded and baring her teeth in anger and pain, she doesn’t look ready for a fight, yet she enters the fray anyway, firing bullet after bullet at the T-1000. It doesn’t matter that this monster seems invincible; he’s not getting near her son.

No moment in “Terminator 2” transfixes quite like that searing clash between mother and machine. The early “Terminator” films may self-consciously dabble in various chambers of philosophical thought (patriarchy versus matriarchy! Fate versus free will!), but their appeal has always been the potency of their suave, brutal fight scenes and feverish emotional outbursts (“Fuck you!” Sarah tells the T-1000 after he stabs her).

The first film in the series, “The Terminator” (1984), loyally adhered to that principle, presenting a pleasantly bare-bones tale of Sarah attempting to outrun Arnold Schwarzenegger’s sunglasses-loving killer cyborg. Yet for all its pleasures, “The Terminator” pales next to its sequel, which chronicles a grander showdown between human frailty and artificial perfection—and welds together a powerful portrait of Sarah as she rises from the ashes of torture and imprisonment to become the last woman standing between humanity and an A.I. revolt (one that has probably given iPhones some nasty ideas).

The emotional core of this saga is Hamilton’s ferocious performance (her Sarah and Sigourney → continue…

From:: Taste Of Cinema

Sony Unveils VENICE: 36x24mm Full-Frame Digital Motion Picture Camera System

By Admin


Sony Electronics is unveiling VENICE – its first Full-Frame digital motion picture camera system. VENICE is the next generation of Sony’s CineAlta camera systems, designed to expand the filmmaker’s creative freedom through immersive, large-format, Full Frame capture of filmic imagery producing…

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From:: Shoot OnLine

Sony Venice – Full-Frame 6K CineAlta

By cameraman

Finally, a Sony camera with a catchy name instead of a confusing number, which from a marketing point of view, has got to be a good start. Although Venice is Sony’s first 36x24mm Full-Frame digital motion picture camera system, it’s great to see it uses the already established and very efficient 10-bit XAVC or 16-bit RAW/X-OCN with the R7 recorder. So that’s SxS or AXS cards and compatibility with other CineAlta hardware. However, it also looks like a future firmware upgrade will also give the option of internal ProRes which is a format still favoured by many in post production who’d rather not transcode.

In many ways this feels like Sony are aiming to compete directly with Arri in the Cinema market, so the concept of having different licences for various camera features will also be a familiar one. Out of the box, the Venice looks like a 4K S35 sized camera. If you want to try some Full-Frame loveliness or even Anamorphic formats you’ll need to purchase an optional licence. These licences will be available on a permanent, monthly or weekly basis.

Ignoring the expected cost and complication of various licence options, there’s still plenty to drool over. A claimed 15 stops of dynamic range, ultra wide colour space, 8 step ND filters, PL or E-Mount lens options and that lovely Full-Frame shallow look. Venice also has a modular design that apart from allowing additional options like RAW recorders, opens up the possibility of even upgrading the sensor in the future.

In many ways, the fact that this is only 6K resolution on a full frame sized sensor could be seen as a disappointment, especially as Sony already → continue…

From:: Extra Shot

Sony unveils the Venice, its first full-frame cinema camera system

Sony has just unveiled a new, groundbreaking (at least for them) cinema camera. It’s called the Sony Venice, and it’s the company’s first 36x24mm full-frame digital motion picture camera system.

Designed in “close collaboration with the creative community,” the Venice is the newest generation of Sony’s CineAlta series, which promises natural skin tones, “elegant” highlight handling and wide dynamic range. In the case of the Venice, the camera’s 36x24mm sensor promises 15 stops of latitude to tackle challenging lighting scenarios, and a brand new color management system with ultra wide color gamut for more flexibility in post.

The headline feature is the sensor itself, though. The full-frame chip can be switched out by the camera’s user by simply removing four screws, and at 36x24mm it’s compatible with Anamorphic, Super 35mm, Spherical and Full Frame PL mount lenses. If you’re really feeling frisky, the lens mount can be modified to support E-mount lenses.

Additional features include a built-in 8-stage glass ND filter system, weather sealing, 10-bit XAVC, 16-bit RAW and S-OCN recording via the Sony AXS-R7 recorder, and a modular design that allows you to use the Venice with current and upcoming CineAlta accessories.

The camera is expected to arrive officially in February of 2018, and while Sony didn’t reveal a price, it seems filmmakers will have the option to ‘license’ different builds for specific production requirements like 4K anamorphic and Full Frame. To learn more, head over to the Sony Venice landing page, or read the full press text below.

Press Release

Sony Unveils VENICE, Its First 36x24mm Full-Frame Digital Motion Picture Camera System

Anamorphic Capabilities, Interchangeable Sensor, 8-stage ND Filter System, New Color Management & Established Workflow Combine into Unique Creative Filmmaking Tool

LOS ANGELES, Sept. 6, 2017 — Sony Electronics is unveiling VENICE – its first Full-Frame digital motion picture camera system. VENICE is → continue…

From:: DPreview

Behind the scenes with Albert Watson: Watch a photographic legend shape light

Profoto recently connected two icons in their respective fields: Albert Watson, the portrait photography legend, and Sergei Polunin, the so-called “bad boy of ballet” and probably the only ballet dancer you could call “mainstream.” Together, they set about capturing some unique portraits, and filmmaker Eric Becker, the director of our own long-form video series, was there to document the process.

Watson’s work—which you can find in galleries and museums world-wide—spans a few genres. But the shots that define his career are his portraits… photographs of influential men and women that often look almost sculpture-like. If you’re interested at all in portrait photography, listening to Watson talk you through his light shaping process will be incredibly inspirational.

And if you’re a fan of high end lighting equipment well… you might just slobber all over your keyboard as you watch his assistants unpack a veritable army of Profoto Pro-10‘s ($14,000 each) for this shoot.

In the end, of course, Watson was less concerned with the gear than the portraits he was trying to capture with said gear. His process is a journey that he describes as, “not a distinct road to the final shot. You don’t know until you get there.”

And when he got there, this is what he captured: three photographs, one showing Sergei in flight, the other two described as “modern sculptures.”

All in all, Profoto doesn’t miss the mark when they call the video above “a masterclass in light shaping.” Check it out for yourself, and then head over to the Profoto website to hear the story in their own words.

All photographs courtesy of Profoto

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From:: DPreview

Venice è la nuova telecamera CineAlta full frame 6K di Sony

By News

Sony ha svelato Venice, la telecamera cinematografica CineAlta full-frame che rappresenta un nuovo sistema di prodotti di acquisizione digitale di fascia alta, Venice ha un fattore forma completamente nuovo, ma le periferiche delle precedenti Sony F5 e F55 rimangono compatibili. E’ dotata di un pannello a LED sul lato dell’assistente, una caratteristica da molto richiesta dai

The post Venice è la nuova telecamera CineAlta full frame 6K di Sony appeared first on ProAV News e informazioni Foto, Cine Video .

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From:: Pro AV

Color Grading Rant: Why Protecting Your Dynamic Range Is Killing Your Aesthetic

By Noam Kroll

While it’s certainly just a matter of preference, my pick would always be the latter of the two images. It’s so much more interesting to not see everything all at once, and to use DR – or lack of it – to draw the viewer into the image.

To use an analogy, consider shallow depth of field –

There are scenarios where deep DOF will work better (by allowing the viewer to see everything in the image with equal clarity), but more often than not, using selective focus is the better choice as it helps guide the audience to the most important part of the frame. It’s a more human and organic way to interact with an image.

While most filmmakers seem to understand this concept when it comes to depth of field, fewer seem to understand how the same logic applies to dynamic range…

Perhaps it’s the overemphasis on high DR in today’s filmmaking landscape (particularly thanks to marketing efforts by camera manufacturers) that’s led some filmmakers to prioritize the protection of their DR in the color grade above all else. Many are focused on the technical achievement of not losing any highlight or shadow detail, while neglecting the bigger question at play: How does the image make the audience feel?

It’s not uncommon to watch finished films today that appear to be made up of ungraded raw footage. This is often a direct result of filmmakers being so careful with their use of contrast (as a means to avoid losing even a tiny bit of dynamic range), that the final product remains so flat that it could almost look like it’s still in Log color space.

That’s not to say that this is a bad look. There are no right or wrong choices when it comes to your aesthetic… You just have to make sure the choices you’re making are purposeful and ultimately serve your story above all else.

So when it comes to your film, ask yourself – Does an ultra flat image evoke the mood in your audience that you’re looking for?

If so, great. More power to you. But if it isn’t the right look for your film, don’t feel like you need to go down that path just to prove how much dynamic range your camera’s sensor was capable of.

And just for the record, I love high dynamic range sensors. DR is one of the most critical factors for me when buying a camera… And I’ve even written multiple articles on that very topic on this blog.

But I seek out high DR cameras so I have options in post, not because I believe my final image needs to squeeze out as much range as humanly possible.

Assuming I plan to do an extensive color grade, having the maximum amount of DR possible means that I can really fine tune just how much of that DR makes it into my final image.

Even if I end up with crushed shadows and blown out highlights, and even if I could have achieved that look with a camera that only shoots 8 stops of DR, I would still like to have 13 or 14 stops so I can experiment in post.

It’s all about having options.

What it’s not about is preserving every last ounce of dynamic range in the color suite – unless there is a specific creative reason for it.

So as we wrap up, I’ll leave you with this –

Great filmmaking is born out of the unique creative choices that we make. Don’t let camera manufacturers tell you what looks good or what’s cinematic. Listen to your own voice and be your own judge of what is aesthetically pleasing. If that happens to be an ultra-flat look, then that’s great. But it’s just as acceptable to have a low DR final product if that’s what your story needs.

If you haven’t already checked out my cinematic color grading LUTs, be sure to do so by clicking here!

And for more content like this follow me on

As we all know, high dynamic range is one of the key ingredients needed to achieve a cinematic look.

This of course is because most of us really equate “cinematic” with “filmic” (whether we realize it or not), and images captured on film traditionally have had far more dynamic range than digital footage… With the exception being reversal film, but that’s for another article.

Until cameras like the Arri Alexa came out and proved high DR was possible on digital cameras, any sort of digital cinematography was always associated with low dynamic range, clipped highlights, and a low quality aesthetic.

A lot has changed in the past 5 years or so, and now we can buy cameras for as little as $1000 (see Blackmagic Pocket Cam) that are capable of delivering dynamic range in the same ballpark as what you might expect of film. This has been incredibly liberating for filmmakers on a budget who desperately want to create film-like images but don’t have the budget to shoot on real film.

At the same time, there has been one somewhat unpleasant side effect of this democratization of dynamic range…

With such a premium placed on DR in today’s filmmaking landscape, many filmmakers are afraid to sacrifice dynamic range for style when it comes to the color grade.

This is likely a result of being beaten over the head by camera manufacturers and marketing companies that preach that more dynamic range = more cinematic images.

And I would argue this is only half true…

While I do believe it’s crucial to capture as much DR as possible, I don’t believe it’s necessary to retain all of that DR in the grade. If anything, I think it can be counter productive when the main goal is to make something look “cinematic”.

Filmmaking isn’t just about what you see, it’s also → continue…

From:: Noam Kroll

Venice: What does it mean?

By (David Shapton)

Sony Venice Cinealta camera

Sony’s new Venice CineAlta camera is a powerful statement that quality – as definied by cinematographers around the world – is paramount

  • Venice
  • Sony Venice
  • CineAlta

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    From:: RedShark News

    Pixelmator Pro will use artificial intelligence to power photo editing features

    Pixelmator, the company behind a $30 image editing application for Mac, has just announced a new product called Pixelmator Pro. Though it hasn’t yet been revealed how much this software will cost, the company has detailed many of its features, some of them powered by artificial intelligence.

    Pixelmator Pro, an editor designed specifically for macOS, taps Apple’s Core ML framework to bring machine learning capabilities to certain features including: horizon detection, automatic layer naming, an object-removing repair tool, and a quick selection tool.

    The editor itself has a single-window design alongside a ‘reimagined editing workflow,’ the company explains, saying its app is ‘totally and completely’ designed for Apple’s operating system. Despite the simplicity of its design, Pixelmator Pro is promised to pack a robust array of tools for editing images (including Raw files), digital painting, adjusting colors, adding non-destructive effects, and more.

    Speaking to The Verge, Andrius Gailiunas of Pixelmator explained that Pixelmator Pro is designed for use by anyone. “Our goal has always been to create an image editor that absolutely anyone could use and enjoy,” says Gailiunas. Because the software is designed for Mac, users will have access to iCloud backups and syncing, support for the Touch Bar on new MacBook Pro laptops, and support for split-screen multitasking.

    Pixelmator plans to launch its Pro application this autumn, but hasn’t stated the price yet. In that same interview with The Verge, the company said it will price Pro as affordably as possible; however, we presume it will cost more than the $30 they’re charging for the regular Pixelmator editor.

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    From:: DPreview

    Faker exposed after convincing top news media he was a war photographer for two years

    Over 100,000 Instagram users and some of the world’s best known media organizations were fooled for over two years by someone pretending to be a front-line war photographer. The entire stranger-than-fiction story was revealed recently by BBC Brazil after a lengthy investigation.

    According to the BBC’s report, so-called ‘Eduardo Martins’ posed as a Brazilian UN photographer by using a collection of images stolen from other photographers’ websites and from news organizations. Stealing with care he built a body of striking work that brought him to the attention of BBC Brazil, Al Jazeera, the Wall Street Journal, Getty Images and many others, and amassed him over 120,000 followers on Instagram.

    ‘Eduardo’ posted tear-sheets of his work in print and recounted stories of his encounters and ‘humanity’ in the face of chaotic and violent scenes. He was able to keep the ruse going by never speaking to anyone in person, and sending only recorded or emailed messages. His photographs were placed with Getty Images and tales of his exploits made print with some of the world’s biggest newspapers.

    An interviewer at the BBC became suspicious, however, and started to ask questions that revealed other Brazilian war photographers working in the same zones had no idea who Eduardo was. As the war correspondent community is tight knit and journalists in conflict zones inevitably know one another, alarm bells began to ring.

    Enquiries with the UN also established that no one with that name was on its books as a photographer, and that neither were other UN photographer friends that Martins referred to—including some that Martins mourned in his posts after they were ‘killed’. Amazingly the UN even followed him on Instagram.

    Pictures from the Facebook page of photographer Ignacio Aronovich that demonstrate how → continue…

    From:: DPreview

    Sony’s Top-of-the-Line CineAlta Full Frame 6K VENICE is Alive

    By Charles Haine

    Sony has officially announced its previously rumored VENICE, a new top-of-the line CineAlta full frame digital cinema system.

    We’re used to Sony using a somewhat inconsistent combination of letters and numbers for its camera naming (the F65, for instance, doesn’t have a 65mm sensor, and the F5 and F55 and FS7 don’t line up in a tidy row like one might hope), but the company has broken with tradition for its latest and greatest, which it has announced today will be called VENICE. With VENICE, Sony has developed a brand new full frame 36x24mm sensor as the centerpiece for the camera system, larger than the Super35mm sensor from the previous flagship the F65.

    Sony has developed a brand new full frame 36x24mm sensor.

    Read More

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    From:: No Film School

    Sony unveils VENICE – 36x24mm full-frame digital motion picture camera system

    By Matthew Allard ACS

    The Sony VENICE is the company’s new flagship Cine camera, capable of shooting up to full frame 6K yet fitting with existing accessories and workflows.

    The post Sony unveils VENICE – 36x24mm full-frame digital motion picture camera system appeared first on Newsshooter.

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    From:: News Shooter

    Fujinon’s Latest Broadcast Glass is 4K HDR-Ready

    By Charles Haine

    With the new UA24x7.8 compact zoom, Fujinon, the optical division of FujiFilm, takes aim at the live broadcast 4K market.

    Read More

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    From:: No Film School

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