5 Reasons Why “The Texas Chainsaw Massacre” is a Horror Masterpiece

By David Zou

The-Texas-Chain-Saw-Massacre

Over the summer we lost a legend in the world of horror cinema when film director Tobe Hooper passed away at the age of 74. The response on Twitter coming from Hollywood all echo a similar theme; from John Carpenter, Eli Roth, James Wan and Stephen King, everyone praised the director as a kindhearted individual and a decent human being. Just about everyone remembers Hooper as one of the nicest person you could ever meet.

It’s surprising that such a good-natured man was responsible for one of the most disturbing and violent horror films in the history of cinema when “The Texas Chainsaw Massacre” was released in theaters in 1974.

Roger Ebert gave the following review for the film for the Chicago Sun-Times: “Horror and exploitation films almost always turn a profit if they’re brought in at the right price. So they provide a good starting place for ambitious would-be filmmakers who can’t get more conventional projects off the ground. “The Texas Chainsaw Massacre” belongs in a select company (with “Night of the Living Dead” and “Last House on the Left”) of films that are really a lot better than the genre requires. Not, however, that you’d necessarily enjoy seeing it.”

This classic low-budget horror film, produced on a $300,000 budget, was original and well made and didn’t rely on blood and gore to deliver its scares. Yet it was so intense and realistic that it became an unforgettable movie experience for anyone who watched it, and one of the most influential and important movies in the horror genre, making “The Texas Chainsaw Massacre” a masterpiece in horror cinema.

1. Realistic Horror

Shot on 16mm, “The Texas Chainsaw Massacre” feels almost like documentary because of its realism. Hooper based some of the story’s elements from the real-life Wisconsin → continue…

From:: Taste Of Cinema

10 Best Picture Worthy Movies That Didn’t Get a Single Oscar Nomination

By Sasha Roberts

Ordinary People over Raging Bull. How Green Was My Valley over Citizen Kane. Spotlight over Mad Max: Fury Road (seriously, but that’s for another list). It’s not news that the Oscars often make decisions that some consider to be… a little wide of the mark. Again and again, films held to be classics have been overlooked. But at least they received some recognition, all be it in the form of nominations or wins in other categories.

But many great films go completely unrecognised. Films that depict life in all its beauty and ugliness. And maybe this is where they go wrong for the Academy – the truth can hurt, and the Oscars are meant to be a party.

The following movies are today generally accepted as classics. None of them are little known pieces that you’ve probably never heard of (apart perhaps from the last one). The point of this list is simply to remind ourselves that the Oscars aren’t the last say in what’s good and what’s not.

“Well of course I already know that,” you might be thinking. But if, for example, La La Land had not received the recognition that only the Oscars can bestow, would we still talk about it today? Regardless of your opinion of it, it’s important to remember that La La Land, having been blessed with Oscar gold, became part of the cultural conversation; lots of people went to see it and talked about it simply because the Academy nominated it.

And that discussion cuts both ways – La La Land was probably going to win Best Picture before Hollywood noticed some people thought they were racist, which means that a film like Moonlight gets nominated and so the conversation shifts, hopefully for the better.

The criteria for these choices, listed chronologically, is that they all came out → continue…

From:: Taste Of Cinema

An Open Letter About Why It’s Time to Ditch Open Letters

By philcooke

The idea of “Open Letters” has become all the rage these days. You can find “Open Letters” in newspapers, magazines, or online addressed to politicians, religious leaders, CEO’s, and even to local high school football coaches. I don’t know who wrote the first open letter, but he or she may have had a legitimate issue […] → continue…

From:: Phil Coke

Canon presenta le nuove videocamere 4K a 50p, XF405 e XF400

By News

Canon annuncia l’ampliamento della sua gamma di videocamere professionali con il lancio di due modelli 4K 50P, le XF405 e XF400. Queste nuove videocamere leggere e compatte vantano ottiche di assoluta qualità, potenti sensori da 1″, doppio processore Digic DV6, Dual Pixel Autofocus con monitor touch-screen, e numerose funzioni che le rendono perfette per le produzioni

The post Canon presenta le nuove videocamere 4K a 50p, XF405 e XF400 appeared first on ProAV News e informazioni Foto, Cine Video .

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From:: Pro AV

New iPhone Cameras Let You See Beyond Better Photos and Videos: It’s All About AR

By Chris O’Falt The iPhone 8, 8-Plus, and X have lots of ways to improve your pictures and movies, but augmented reality is where it’s at. → continue…

From:: Indie WIRE Filmmaker Toolkit

Sony go organic with a new vertical colour separation sensor

By Matthew Allard ACS

Sony have patented a new vertical colour separation sensor that uses a stacked layer of organic photoelectron conversion films. Every pixel has three layers of organic material. The top layer…

The post Sony go organic with a new vertical colour separation sensor appeared first on Newsshooter.

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From:: News Shooter

New Sachtler/Vinten Flowtech 75: all the tripod you will ever need

By noreply@redsharknews.com (Andy Stout)

Quick release brakes lead to quick deployment

It’s tempting to think that there’s not much new that can be brought to the worlds of established camera kit like tripods. Tempting but wrong, as the new Sachtler/Vinten Flowtech 75 ably illustrates.

  • Vinten
  • sachtler
  • flowtech
  • tripod
  • camera support

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    From:: RedShark News

    Apple TV 4K Provides Stunning Images in High Dynamic Range

    By Jason Boone

    Apple promises the ‘greatest image quality ever’ with its Apple TV 4K.

    Today at the Steve Jobs Theater in Cupertino, Apple unveiled its upcoming products to an excited crowd. The lineup of gadgets included a new Apple Watch, three new iPhones, and the new Apple TV 4K. Apple touted the new TV 4K as having the “greatest image quality ever.” To illustrate that fact, they connected one to a 4K HDR cinema projector and showed the audience a few clips, as well as highlighting the new 4K interface.

    Any HD content you’ve already purchased will be automatically upgraded to 4K HDR at no additional charge.

    Apple designed its new product around two (not so recent) advancements in image technology: 4K and HDR (High Dynamic Range). “4K isn’t everything,” teased Eddie Cue, Senior VP and speaker at today’s event. After making this claim, he showed the audience a split screen image of a hummingbird—the left side in 4K and the right in 4K HDR, with a noticeable difference in image quality. Apple TV 4K is capable of producing these images since it supports Dolbyvision and HDR 10, two industry standard HDR platforms.

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    From:: No Film School

    Preeminent Craftspeople Abound at Creative Arts Emmys – PART ONE

    By Scott Essman

    At the first of two nights at the Microsoft Theater in downtown Los Angeles, craftspeople in all walks of broadcast and cable television, plus new media arts walked the red carpet and reveled in the honorary ceremony at the annual Creative Arts Emmy Awards. Surely, every possible facet of the process was awarded on […]

    The post Preeminent Craftspeople Abound at Creative Arts Emmys – PART ONE appeared first on Below the Line.

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    From:: BLT News

    TIFF Critic’s Notebook 5: The Disaster Artist, Plonger

    By Vadim Rizov

    James Franco has been annoying a lot of people, myself included, for a variety of reasons, not least his relentless direction of a shocking number of movies, most quite poorly received: if I’m counting the credits on his IMDB page right, The Disaster Artist is his 16th feature since 2005 — not precisely Fred Olen Ray levels of shoddy productivity, but not that far off either. For easily his most mainstream effort (and, full disclosure, the only one I’ve seen), Franco films the saga of the making of Tommy Wiseau’s infamous cult movie The Room. I’m not much of a so-bad-it’s-good consumer, […] → continue…

    From:: Filmmaker Magazine

    Apple Brings ‘The Future of the Smart Phone’ with Three New iPhones

    By Jason Boone

    Apple’s three new iPhone models come with significant optical upgrades—and a significant price hike.

    Today, ten years after Steve Jobs introduced the first iPhone, Apple announced its latest product lineup which consists of three new models, including the iPhone 8, the 8 Plus, and the iPhone X. Each model comes with significant hardware and design upgrades, including new HD retina displays and an exciting new processing chip. The cameras are now capable of shooting at faster video frame rates (1080p at 240 fps) with improved image stabilization. Advanced image and motion analysis provide better video encoding. Here’s a closer look at each model:

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    From:: No Film School

    Hands-on with the Sony Cyber-shot DSC-RX10 IV

    Introduction

    The RX10 IV, as the name suggests, is the fourth in Sony’s series of 1″-type sensor, long zoom compacts. The Mark IV is the first to offer phase detection autofocus alongside a series of changes designed to boost the speed and capability of the camera, for both stills and video shooting.

    Sony is adamant that the camera is much more than an RX10 III with an RX100 V sensor in it. Let’s take a look at what the latest version brings.

    Autofocus

    One of the biggest changes in the Mark IV is the addition of on-sensor phase detection autofocus. There are a total of 315 phase-detect points, which cover 65% of the total sensor area. This is a significant update as it should eliminate the RX10 III’s need to hunt for focus, which was a particular problem at the long end of the zoom.

    In addition, we’re told the camera has “exactly the same” processor as used in the company’s flagship sports camera: the a9. This means the RX10 IV has the same autofocus algorithms for subject tracking and the improved Eye AF mode we saw on the a9.

    Touchscreen

    The RX10 IV also becomes the first camera in the RX series to gain a touchscreen. This can be used for tap-to-focus in both stills and video mode. In video mode it is designed to offer a smooth focus transition between subjects which, combined with on-sensor PDAF, should make it relatively easy to shoot good-looking video without having to worry about manual focus.

    The screen can also act as an AF touchpad when the camera is held to your eye, with the option of limiting the active area of the screen to one of nine regions → continue…

    From:: DPreview

    Apple unveils iPhone 8 models and iPhone X top-end model

    At its event in the brand new Steve Jobs Theater Apple has today unveiled its latest iPhone models, the iPhone 8 and 8 Plus. Despite the direct step from the iPhone 7 to the 8 model number, rather than 7s, the new models look at first sight like fairly incremental upgrades.

    The design is very similar to the iPhone 7 series but the phones now come with glass at front and back. The Retina displays still offer 4.7″ and 5.5″ diagonals and a wide color gamut. True Tone technology, which adjusts the temperature of the display in different surroundings, is also on board.

    Both phones are powered by the new A11 Bionic six-core CPU which includes two high-performance cores, which are 25 percent faster than the current A10. The chip also comes with a new image signal processor (ISP) which, Apple says, helps improve low-light performance of the camera using multi-band noise reduction.

    Other camera specs looks similar to the previous models. The iPhone 8 camera comes with a 12MP sensor that, according to Apple, captures 83 percent more light and is more power efficient than the predecessors. As before, there are a F1.8 aperture and optical image stabilization.

    The 8 Plus main cameras is the same as on the iPhone 8 but there’s a secondary 12MP cameras for zooming and depth effects that comes with a F2.8 aperture. In video mode both devices can now record slow-motion footage at 1080p and 240 frames per second.

    The iPhone 8 models are also the first iPhones to come with the Qi wireless charging standard. Storage options range from 64 to 256GB and pre-order for both models starts on September 15th. Shipping is envisaged for September 22nd. The iPhone 8 will start at $699, for the Plus → continue…

    From:: DPreview

    Arriva Apple TV 4K con HDR, HDR10 e Dolby Vision

    By News

    A Cupertino oggi la Apple ha presentato la nuova generazione del suo set-top-box Apple TV, la novità principale è il supporto, finalmente, alla risoluzione 4K/UHD, con supporto alla tecnologia HDR (High Dynamic Range) per la “miglior qualità video di sempre”, come dice Eddy Cue sul palco. Supportati sia lo standard HDR10 che il Dolby Vision.

    The post Arriva Apple TV 4K con HDR, HDR10 e Dolby Vision appeared first on ProAV News e informazioni Foto, Cine Video .

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    From:: Pro AV

    Three Powerful Films, Three Writers, and Three Rules for Your Screenplay

    By Dylan Dempsey

    Three TIFF screenwriters share their successful creative strategies.

    In an insight-packed thirty minutes, the TIFF 2017 screenwriting panel focused on three films: each of them has been well-received, each is a powerful story, and each one happens to have a narrative grounded in childhood. On the stage were three writer/filmmakers, all equally passionate, each one there to discuss the most crucial–and arguably the most difficult–part of the filmmaking process: turning a blank page into something worth filming.

    The result? Three creative strategies, each one shaped by a different approach…and each one an essential piece of advice.

    “Because this wasn’t a studio picture, I had the liberty of playing around with the story even in the edit.”

    1. Sean Baker: Keep re-writing through post

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    From:: No Film School