IFH 223: Inside the Raindance Film Festival with Founder Elliot Grove – Indie Film Hustle

By Alex Ferrari

Inside the Raindance Film Festival with Founder Elliot Grove Today’s guest is the legendary film author and founder of the Raindance Film Festival Elliot Grove. Elliot is not only the founder of Raindance Film Festival and the British Independent Film Awards. He has produced over hundreds of short films and also five feature films, including the…

The post IFH 223: Inside the Raindance Film Festival with Founder Elliot Grove appeared first on Indie Film Hustle.

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From:: Indie Film Hustle

Operator Hires

By D Here’s a tricky subject. Key Grips traditionally bring their own Dolly Grips. It makes sense since Dolly Grips are actually members of the Grip Department. Over the last few years however, I’ve noticed an uptick in the number of calls I get from camera operators checking availability. I haven’t spoken to any of my colleagues about this but I would imagine they’ve noticed the same thing. Years ago, this never happened. In the last year alone though, I’ve done “B” camera on a show with my regular Key Grip because the operator brought his own guy from LA, and I’ve lost a show that the operator campaigned hard for me to get, but the Key Grip insisted on bringing his own guy. I should say at this point that I have no resentment whatsoever in either of these instances. I’ve been in both positions before. Although I would have liked to have done both of the jobs as “A” camera, in each case I understand why I ended up where I was and respect both decisions. The point I’m getting at is that in each case the camera operator had a Dolly Grip in mind and contacted him for the job. I think a couple of things are in play here: The huge demand for content has resulted in more production probably than at any time in history, leading to a shortage of Dolly Grips who are qualified to do the job; and more young Key Grips who don’t understand the position and hire Dolly Grips who can’t put the camera where the operator needs it. I hear over and over again nightmare stories from camera operators about their previous Dolly Grips. Guys who can’t do compound moves. Guys who can’t do dance floor moves. I heard a couple years → continue…

From:: Dolly Grippery

A Visual Portrait of a Profoundly Internal Person: Finlay Pretsell on His Original Take on the Cycling Doc, Time Trial

By Pamela Cohn

Hearing the phrase “a decade in the making” is not that unusual in feature documentary circles, particularly for those stories that, on the surface, look fairly simple and straightforward, yet somehow beg to be told on a big screen. That long duration, though oftentimes frustrating, lends itself to finding the more peripheral, ephemeral elements around the main story. So many documentaries about athletes are reliant upon heavy use of archival footage and sit-down interviews with everyone whoever knew the person, with family members, friends, fellow athletes and coaches all weighing in to form a portrait of the protagonist as champion, […] → continue…

From:: Filmmaker Magazine

10 Directors Who Could Handle The Next James Bond Movie

By Tom Lorenzo

James Bond is one of the biggest franchises in the world. It has to be, considering it’s reached 24 movies and people still get excited about the next entry. It’s almost a primal thing at this point. It hits something in people that gets them going. The exotic locale, the pretty ladies, the bombastic action. There’s a simple formula that is very loose, which can make each movie feel different while also still feeling very distinctly Bond.

This is also a series that, until the one-two punch of Marc Foster and Sam Mendes, didn’t really go for big name or award-nominated filmmakers. For some reason, everyone keeps throwing up A-list filmmakers to tackle the next Bond as if it was some grand tradition and not a weird little trend in the Daniel Craig era.

With the curiosity regarding who will helm the next entry kind of getting to a boiling point, with a proposed start date of shooting rapidly approaching and the rumors regarding Danny Boyle being the man primed to take the job, it seems like it would be as good a time as any to make a list that pitches some filmmakers to handle the job.

I’ll break their little rule that the director has to be from England because that’s boring, and also indicates that I truly think any of my opinions matter in a real-life way. Also, Christopher Nolan is not on here. Just getting that out of the way early. Despite being British and a man with a clear love of Bond due to his outright lifting of Bond iconography/set pieces for some of his work, he is truly not fitting for the job. He is too stuffy and lacking in any real sense of fun. I know the comments will be rife with nitpicking and → continue…

From:: Taste Of Cinema

charlieuniformtango Brings Home 8 ADDYS

By youngcompany


Lola Lott, charlieuniformtango principal/CEO, announced charlieuniformtango brought home 3 Gold, a Silver, and 4 Bronze ADDYS from last night’s 56th Dallas ADDYS award ceremony held at The Bomb Factory in Dallas. This year’s awards made history by introducing a new trophy designed…

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From:: Shoot OnLine

charlieuniformtango Brings Home 8 ADDYS

By youngcompany


Lola Lott, charlieuniformtango principal/CEO, announced charlieuniformtango brought home 3 Gold, a Silver, and 4 Bronze ADDYS from last night’s 56th Dallas ADDYS award ceremony held at The Bomb Factory in Dallas. This year’s awards made history by introducing a new trophy designed…

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From:: Shoot OnLine

Panasonic has announced the addition of the AK-UC4000

By Cary Welch

NEWARK, NJ (February 20, 2018) – Panasonic has announced the addition of the AK-UC4000 studio camera to its system camera line, joining the current AK-UC3000 4K HDR capable-camera and the AK-HC5000 1080p 4x high-speed HDR capable-system. It brings together the features of both and raises the bar for 4K HDR performance and future-proof infrastructure.

The current UC3000 utilizes Large Single Sensor Internal Expansion Lens (LSSIEL) optics to expand the standard image from broadcast 2/3” B-4 mount lenses to a 1” cine-style 4K sensor, enabling cinema camera performance with broadcast optical behavior and lenses. The UC4000 utilizes LSSIEL optics with Panasonic’s new, larger, advanced super 35mm imager, capturing 4.4K native resolution improving the UHD resolution (more than 2000 TV lines, both horizontal and vertical), dynamic range and S/N ratio (62dB) over the UC3000. It maintains the same broadcast lens compatibility and operation and keeps the same camera form factor–matching or surpassing the best performing 4K HDR B-4 mount cameras on the market.

The UC4000 is designed for live sports production and high-end event broadcasts, with potential customers including pro sports broadcasters and production rental companies, stadium and venue owners (pro sports teams) and collegiate sports video departments, as well as broadcast studios and call letter TV stations, houses of worship, high-end corporate video departments and eGaming broadcasters.

“The oversampling of the UC4000’s new 4.4K imager helps sports production crews avoid potential moiré issues caused by the ubiquitous LED screens,” said Michael Bergeron, Studio/Systems Cameras Product Manager, Panasonic Media and Entertainment Company. “Also, the future 12G 4K output feature will enhance the capability of an integrated stadium wireless system–like the system Panasonic has developed with Wave Central–so even wireless cameras can feed 4K to the high-resolution scoreboards.”

Future Proof Systematization with New AK-UCU600 Camera Control Unit

The new AK-UCU600 camera control unit provides → continue…

From:: Student Filmmakers

Android P brings HEIF and multi-camera support to Pixel devices

Google has released the first developer preview of its upcoming Android P mobile operating system, and the long list of improvements includes support for a display cutout (iPhone X-style “notch”), more precise indoor navigation, and improved messaging notifications among others. However, there are also two points that should be specifically interesting to camera-minded users: HEIF-support and the ability two simultaneously access streams from two or more physical cameras.

Devices running Android P will support the same HEIC version of the High Efficiency Image Format (HEIF) as the latest iPhones. HEIC files are roughly half the size of JPEGs, and can include several photos as well as short videos. Android P devices will also be capable of merging image data from two or more cameras at OS-level, which kind of makes us think there could be a dual-camera equipped Pixel-phone on its way.

“You can now access streams simultaneously from two or more physical cameras on devices running Android P. On devices with either dual-front or dual-back cameras, you can create innovative features not possible with just a single camera, such as seamless zoom, bokeh, and stereo vision. The API also lets you call a logical or fused camera stream that automatically switches between two or more cameras.”

It’s possible (read: likely) this first Developer Preview of Android P will be pretty unstable, but if you are feeling adventurous and have a spare Pixel device lying in a drawer, you can download and install the new OS version from the Android website for the Pixel 2 XL, Pixel 2, Pixel XL and Pixel. A full list of new features can be found here.

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From:: DPreview

Sustainability and History: The 2018 International Film Festival Rotterdam

By Darren Hughes

The 47th edition of the International Film Festival Rotterdam presented 531 films of various lengths, 140 of which were world premieres, and welcomed more than 2,400 industry professionals. To tick off each special event, master class, conference, installation, curated program, party, award winner and grand announcement would consume this entire report. (The IFFR wrap-up press release clocks in at 1,400 words.) Needless to say, IFFR benefits from and suffers for its size, in mostly predictable ways. There are few places other than Rotterdam in January where one might watch Phantom Thread scored live by an orchestra, spend a night in […] → continue…

From:: Filmmaker Magazine

Photojournalist faces death penalty in Egypt for covering anti-government protests

Mahmoud Abou Zeid, a 31-year-old photojournalist also known by the alias Shawkan, is among more than 700 individuals currently facing a death sentence in Cairo. According to Reporters without Borders, Shawkan and the others were arrested in connection with the anti-government protests that took place in Cairo’s Rabaa al-Adawiya Square in August 2013.

On March 3rd, the prosecution in the trial requested that all 700+ individuals, including Shawkan, be sentenced to the maximum penalty of death by hanging. Charges lobbed against the entire collective include accusations of being members of the Muslim Brotherhood, attempted murder, murder, and more.

Shawkan, however, was merely covering the protests as part of his job. The photojournalist was reportedly working on assigned for Demotix, a British photo agency, when he was arrested on August 14th, 2013.

The UN Working Group on Arbitrary Detention is aware of Shawkan’s arrest, which it has classified as arbitrary. According to a report from the group, Shawkan was held without charges or trial until March 2016. The group states that Shawkan has been deprived of medical treatment, adequate access to his lawyer, and due process… among other things.

Reporters without Borders has called for Shawkan’s release, also noting that RSF’s World Press Freedom Index ranks Egypt among the lowest in the world.

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From:: DPreview

This Samsung infographic tracks the evolution of the camera phone

With a variable aperture, super-slow-motion and (in the case of the Plus model) a dual-camera setup, Samsung’s newly announced flagship smartphones Galaxy S9 and S9 Plus put a lot of emphasis on camera features and performance. But, of course, this is far from Samsung’s first foray into camera phone tech.

Samsung has long been at the forefront of mobile imaging, and to visualize this fact, the company has released am infographic that puts its camera phone innovations onto a timeline of the past 18 years.

The graphic starts with Samsung’s first camera phone—the SCH-V200—which was launched in 2000 and allowed you to shoot and store up to 20 0.11MP images (you still needed a computer to view them, though). From there, it move on to a number of flip-style feature phones and smartphone classics, such as the first Galaxy S or the Galaxy S4 Zoom.

As you would expect, the infographic ends with the new Galaxy S9 models, but it includes technical data and interesting tidbits about all the featured phones—well worth a closer look for anyone interested in tech history. Check it out for yourself below:

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From:: DPreview

Editor Tatiana Riegel on I, Tonya, River’s Edge, Pulp Fiction and There Will Be Blood

By Matt Mulcahey

Tatiana Riegel’s first step toward becoming an Oscar nominated editor happened on the set of The Love Boat. 20th Century Fox Studios was just a short walk from where Riegel grew up in Los Angeles and around the time she turned 12 she began wandering onto the lot. “There wasn’t much security back then,” laughs Riegel. “I would watch shows like The Love Boat and M*A*S*H being shot, and I would go into the commissary and see everybody all dressed up in their costumes. I think people just assumed I was someone’s kid and kind of ignored me.” Her visits were typically […] → continue…

From:: Filmmaker Magazine

Can DaVinci Resolve steal the edit market from Adobe and Apple.

By alisterchapman

editing-xl-1024x629 Can DaVinci Resolve steal the edit market from Adobe and Apple.

I have been editing with Adobe Premiere since around 1994. I took a rather long break from Premiere between 2001 and 2011 and switched over to Apple and Final Cut Pro which in many ways used to be very similar to Premiere (I think some of the same software writers were used for FCP as Premiere). My FCP edit stations were always muti-core Mac Towers. The old G5’s first then later on the Intel Towers. Then along came FCP-X. I just didn’t get along with FCP-X when it first came out. I’m still not a huge fan of it now, but will happily concede that FCP-X is a very capable, professional edit platform.

So in 2011 I switch back to Adobe Premiere as my edit platform of choice. Along the way I have also used various versions of Avid’s software, which is another capable platform.

But right now I’m really not happy with Premiere. Over the last couple of years it has become less stable than it used to be. I run it on a MacBook Pro which is a well defined hardware platform, yet I still get stability issues. I’m also experiencing problems with gamma and level shifts that just shouldn’t be there. In addition Premiere is not very good with many long GOP codecs. FCP-X seems to make light work of XAVC-L compared to Premiere. Furthermore Adobe’s Media encoder which once used to be one of the first encoders to get new codecs or features is now lagging behind, Apples Compressor now has the ability to do at he full range of HDR files. Media Compressor can only do HDR10. If you don’t know, it is possible to buy Compressor on it’s own.

Meanwhile DaVinci Resolve has been my grading platform of choice for a few years now. I have → continue…


Music Festivals Are Pledging Gender-Equal Lineups, So Why Aren’t Film Festivals?

By Eric Kohn If film festivals are truly going to adapt more balanced approaches to programming, they may require some new ground rules. → continue…

From:: Indie WIRE Filmmaker Toolkit

10 Great Movies To Watch If You Liked “Downton Abbey”

By Vlad Albescu

“Downton Abbey” is everything one can ask for when it comes to English period dramas about the early 20th century. Despite becoming closer to a soap opera in its later seasons, the quality of the performances provided by great British actors such as Hugh Bonneville, Michelle Dockery, Jim Carter, Elizabeth McGovern, Penelope Wilton, Brendan Coyle and, of course, the magnificent Maggie Smith, made for one of the best shows of this decade.

But there’s more than the amazing performances that deserve admiration. The costumes, the production design, John Lunn’s score (including the superb main theme song) and, more than anything, its ability to wind its way into the viewer’s affection are also just as praiseworthy.

The series was well received by critics and has earned numerous awards, including a Golden Globe for Best Miniseries in 2011, three Emmy Awards for Maggie Smith, a Best Supporting Actress Golden Globe award for Joanne Froggatt and many others.

Below are 10 movies which fans of “Downton Abbey” might find enjoyable. Please let us know in the comments what other films would you add to this list and what are your thoughts on “Downton Abbey.”

1. Gosford Park (2001)

Gosford Park

Nine years before “Downton Abbey,” Julian Fellowes served as screenwriter for this period mystery film which might be the closest thing to his famous British television series.

“Gosford Park” is directed by Robert Altman and stars a British ensemble cast which only the Harry Potter series might top: Maggie Smith, Helen Mirren, Michael Gambon, Derek Jacobi, Charles Dance, Eileen Atkins, Kristin Scott Thomas, Stephen Fry, Emily Watson and Clive Owen, just to name a few.

“Gosford Park” and “Downton Abbey” differ in scope, but share a lot of common ground in setting, characters and execution. While “Downton Abbey” tells a story that spans over a → continue…

From:: Taste Of Cinema