Why You Should Become a Film or TV Studio Executive

By philcooke

One of the perplexing things about speaking at the film and media departments at numerous Christian universities across the country is discovering the vast majority of the students want to be in production – and most of that group want to be actors or directors. It’s understandable because those are the positions that get the […] → continue…

From:: Phil Coke

7 Reasons Why “Twin Peaks: The Return” is The Perfect Culmination of David Lynch’s Career

By David Zou

David Lynch’s Twin Peaks: The Return, a goliath eighteen-hour journey into the art of dreams, memory and time, is unquestionably the best film of the year. Once seen, The Return cannot be eradicated from memory, it leeches onto your mind with a vice like grip that cannot be loosened. Once the screen fades to black, the final credits roll and your jaw has been picked up off the floor, the urge to talk about what has just been witnessed is coupled with a desire to never want to talk about it again.

Twin Peaks: The Return journeys back to the small town in Washington state, to revisit and continue the story that was left with an enraging cliff-hanger in 1991. The following year, Twin Peaks: Fire Walk With Me was expected to tie up loose ends and to present closure but only succeeded in posing more questions, leaving a rather sour taste.

While the prequel film has been since re-evaluated, Twin Peaks: The Return is fresh in the mind, and refusing to go anywhere. One reason for this is that you may never see anything like this again; Lynch has thoroughly outdone himself and created the perfect culmination of his life’s work.

1. Subverting fan expectations

“Strange as it sounds, I think you’re a girl named Laura Palmer.”

Following the cryptic finale of the second series of Twin Peaks (Laura Palmer’s haunting “I’ll see you again in 25 years”), the desperation to understand and get resolutions lingered greatly, and once The Return was greenlit, a joyous reunion in the quirkiest of Twin Peaks way was highly anticipated by fans.

Such desires only offered creators David Lynch and Mark Frost more reasons to either hold back on, or complete refuse to acknowledge, the fates of beloved characters from a quarter of → continue…

From:: Taste Of Cinema

How Jealousy Kills Your Creative Freedom

By V Renée

“Jealousy is always a mask for fear.” —Julia Cameron

Get ready, it’s about to get emotional in here. And that’s a little weird, right? I mean, this is an indie film blog. But even though we typically don’t talk much about the emotional toll of being a filmmaker, it doesn’t mean that filmmakers don’t struggle with things that weaken their passion and damage their confidence. I came across a really interesting video by photographer Sean Tucker in which he talks about a rarely discussed problem that affects people not only in the indie film community but pretty much in every creative community, “creative jealousy,” and how it can actually be the very thing that keeps you from doing what you love.

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From:: No Film School

Watch: Gillian Wallace Horvat’s “Raunchy Feminist Comedy,” Whiskey Fist

By Scott Macaulay

As her short Whiskey Fist has made its away across the festival circuit, director Gillian Wallace Horvat has penned a couple of essays for Filmmaker amplifying and riffing off of her shorts’ themes. Specifically, she takes aim at the rise of branded content masquerading as short films, critiquing filmmakers who surrender their “authenticity” by imagining that brand sponsorship isn’t affecting their art. Her SXSW-premiering Whiskey Fist, which Horvat says was provocatively submitted to a whiskey company’s branded film content contest (containing a scene in which a man is anally penetrated by a whiskey bottle, it lost, needless to say), is […] → continue…

From:: Filmmaker Magazine

IFH 186: How to Make a Killer Horror Film in One Location with Michael Williams – Indie Film Hustle

By Alex Ferrari

How to Make a Killer Horror Film in One Location with Michael Williams If you have a micro or no budget feature film shooting in one location will make life a lot easier. Now, how do you make that one location look great and not boring through your film? Indie Filmmaker Michael Williams did just that…

The post IFH 186: How to Make a Killer Horror Film in One Location with Michael Williams appeared first on Indie Film Hustle.

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From:: Indie Film Hustle

Win Tickets to Hear Steven Soderbergh at This Weekend’s Future of Storytelling Festival

By Scott Macaulay

A conversation with Steven Soderbergh and a screening of the Season Three premiere of Mr. Robot followed by a talk with creator Sam Esmail are just two highlights of the Future of Storytelling Festival, to be held this weekend, October 6 – 8, at the Snug Harbor Cultural Center in Staten Island, New York. In a discussion moderated by Elvis Mitchell, Soderbergh will talk about his overall career as well as Mosaic, the new interactive project he’s making with HBO. In addition to Esmail, there are comedy performances, music events, and panels on truth in the age of digital journalism […] → continue…

From:: Filmmaker Magazine

Watch: 100 Greatest Movie Gadgets of All Times

By Justin Morrow

Sometimes, props are just as memorable as the characters who use them.

Not all movies are full of cool doohickeys and whatzits that come take on their own life in pop culture, but the pieces of speculative technology that strike a chord are often remembered just as much, if not more than, the plots of the films and characters who use them. This video from Burger Fiction, a supercut of their picks for the 100 Greatest Movie Gadgets of All Time, features some iconic—and some more relatively obscure—items that don’t actually exist, but have a real place in pop culture. See if you agree with their picks, and check out some of our favorites, below.

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From:: No Film School

The new Aputure LS 300d is now shipping

By Erik Naso

The Aputure LS 300D (5500K Color Temperature) looks to be a big hit. At NAB 2017 Newshooter gave it a show award for Best New Lighting product. Now the LS 300D is…

The post The new Aputure LS 300d is now shipping appeared first on Newsshooter.

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From:: News Shooter

NYFF 2017: Hong/Garrel/Hong

By Vadim Rizov

NYFF’s second week of press screenings were scheduled in such an apropos way: over 36 hours, you could watch two Hong Sang-soo films sandwiched around Philippe Garrel’s latest. Two of my absolute favorite working filmmakers, they share at least two important traits: creating an illusion of verisimilitude so strong it’s near-impossible to catch anyone onscreen “acting,” and an obsessive return to the same super-straight-male preoccupations, with the Venn diagram decidedly overlapping at infidelity. (Claire Denis is a big fan of both, and her Let the Sunshine In acts as an unexpected companion piece to the films discussed here; more on […] → continue…

From:: Filmmaker Magazine

Watch: A Novel Way to Make Your Characters More Human

By Max Winter

Stanley Kubrick and Ridley Scott are among the filmmakers who use this tactic.

One of the most basic questions faced by any filmmaker must be this: what is the universal human angle here? How do I bring out the human element in these characters and this story, making the film matter to its viewers? There are many paths to that answer, the most obvious being making the story as engaging as possible, using human interest as story elements where possible, or adding as many dimensions to characters as they can hold. However, some directors, ranging from Stanley Kubrick to Ridley Scott to Spike Jonze, have amplified the humanity of their characters by contrast, specifically by including nonhuman, non-animal characters in their films to remind us of what makes a human a human and what makes a robot a robot.

In the most outlandish films, we may notice the least outlandish details first.

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From:: No Film School

Perspectives on Filmmaking, Episode 2 – How Technology is Simplifying Work for us

By Nino Leitner

cinema5D together with Olympus Europe is proud to present the 2nd out of six episodes of “Perspectives on Filmmaking”. A discussion between leading filmmakers who endorse working with compact tools in their film productions.

In case you missed the first episode, please watch it by clicking here!

In this 2nd episode of “Perspectives on Filmmaking”, we focus on the benefits – and difficulties – of shooting video with small cameras. We cover everything from the ability to shoot in constrained places, to get perspectives that wouldn’t be possible with bigger cameras, to film without being recognised as a “film crew” and being less intimidating for the people in front of the camera. “The camera that brings you to shoot something because it’s small is better than all the big technology at home,” as Dirk Wilutzky put it.

We also cover the fact that smaller gear is often also cheaper, which means that camera technology with very high quality has come down so much in price that it’s now really democratising the filmmaking industry at an increasing pace.

In the next episode we focus on how content creation is actually being changed because of the availability of the new smaller technology.

The post Perspectives on Filmmaking, Episode 2 – How Technology is Simplifying Work for us appeared first on cinema5D.

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From:: Cinema 5d

MPSE-Obituary for Paul Rodriguez

By Staff

Paul Rodriguez 1952-2017 Motion picture and television sound executive Paul Rodriguez passed away September 26th in Los Angeles of cardiac arrest after a brief hospitalization. He was 65. Rodriguez was president of South Lake Audio Services and Vice President of Audio Services and Development at Roundabout Entertainment in Burbank where he oversaw post-production sound for […]

The post MPSE-Obituary for Paul Rodriguez appeared first on Below the Line.

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From:: BLT News

Video comparison: GoPro Hero6 ‘is what the Hero5 should have been’

GoPro announced the all-new Hero6 last week, and while it might look identical to the Hero5 on the outside, the camera’s capabilities have been vastly improved thanks largely to a new custom-designed image processor called the GP1. But does this fancy new processor deliver on its promises for better stabilization, improved dynamic range, and improved low light performance?

The folks at Vistek wanted to find out, so they pitted the Hero6 against its predecessor in a range of head-to-head tests that demonstrate one thing very clearly: The GoPro Hero6 definitely delivers on its promises.

From stabilization—which is now available all the way up to 4K/24p—to dynamic range and beyond, the Hero6 soundly beat the Hero5 in every test Vistek threw its way. Of course, you’d expect this from a new model of the same action camera, but for the most part, the improvements are not simply incremental… they’re obvious.

As with any small action camera there is still plenty of room for improvement; a small sensor is still a small sensor and there are plenty of things a tiny little action camera just doesn’t do particularly well no matter what. But as Vistek points out, GoPro seems to have listened to its consumers (and competition from companies like Yi) and built that action camera that ‘is what the Hero5 should have been.’

The question now becomes: is it too little too late? But you’re the only one who can answer that.

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From:: DPreview

Panasonic firmware debugs GH4, improves stabilization on 42.5mm and 30mm lenses

Panasonic has released new firmware for the Lumix DMC-GH4 camera, its 42.5mm f/1.2 portrait lens and the 30mm f/2.8 macro. The firmware was introduced the same day as the V2.0 for the Lumix DC-GH5, but was rather over-shadowed by the bigger news (for obvious reasons). That doesn’t mean it’s not worth mentioning though.

On the camera side, the update for the GH4 fixes an issue that prevented image stabilization from functioning with some third party lenses when working in the variable frame rate video mode.

For the lenses, the update brings Dual IS 2 to both the (H-HS030) Lumix G Macro 30mm f/2.8 ASPH Mega OIS and (H-NS043) Leica DG Nocticron 42.5mm f/1.2 ASPH Power IOS lenses, with individual updates for each of the models.

The version 2 of the stabilization system that combines in-camera sensor movement with in-lens anti-shake units is said to provide better performance for stills shooters as well as stabilization in movie mode and 4K/6K Photo modes via a new gyro system in Dual IS 2 compatible bodies. At the moment only the DC-GH5 and G80/G85 support the system, which differs from the Dual IS modes used in the GX8 and GX80/85.

For more information visit the Panasonic website, or follow the direct links to the firmware pages for the Lumix DMC-GH4, Lumix G Macro 30mm f/2.8 ASPH Mega OIS and Leica DG Nocticron 42.5mm f/1.2 ASPH Power IOS. Panasonic also publishes a chart that shows the version of Dual IS each lens/body combination will deliver.

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From:: DPreview

New product overview videos: Sony a9 and FE lenses

We’re always expanding our collection of product overview content, and we’ve just added videos for the Sony a9, as well as a brace of recent FE lenses – the 12-24mm F4 and 16-35mm F2.8 GM wideangles, and the 100-400mmF4.5-5.6 GM telezoom.

Take a look at some of the key features these products offer – demonstrated in the shooting scenarios they were built to handle. For more overviews and gear tests, be sure to subscribe to our YouTube channel.

Product overview: Sony FE 12-24mm F4 G

Product overview: Sony FE 16-35mm F2.8 GM

Product overview: Sony FE 100-400mm F4.5-5.6 GM

This is sponsored content, created with the support of Amazon and Sony. What does this mean?

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From:: DPreview