15 Child Actors Who Lost Their Way

By Vlad Albescu

It’s hard to grow up as a child actor and manage to keep your career on track when becoming an adult. Many former child actors lost their interest in acting, faced drug or alcohol-related problems, or simply proved to be not so talented as they appeared to be in their early days.

There are also a lot of exceptions. Leonardo DiCaprio, Jodie Foster, Natalie Portman, Joseph Gordon-Levitt, Christian Bale – and the list could go on – are all respected actors who started their careers long before turning 18 years old.

In this list, however, we will focus on the other category. These are 15 former child actors who didn’t manage to match their early fame.

15. Skandar Keynes

The ‘Chronicles of Narnia’ trilogy was one of the better fantasy film series, which tried to replicate the success of the Harry Potter franchise.

Of all of Narnia’s four lead child actors, Skandar Keynes, who played the mischievous Edmund Pevensie, is the only one who hasn’t starred in anything new since 2010’s “The Chronicles of Narnia: The Voyage of the Dawn Treader.”

In 2016, Keynes announced his retirement from acting. He is currently working as a parliamentary adviser.

14. Harry Melling

Harry Melling is well known for his role as Dudley Dursley, Harry Potter’s annoying fat cousin, a character which he played in five of the franchise’s eight films. However, since “Harry Potter and the Deathly Hallows: Part 1” (2010), Melling has only appeared on the big screen once, in last year’s “The Lost City of Z.”

In an interview from 2009, he commented about his weight loss, telling that he could “shed the child actor thing, like the fat, and start a new career,” since no one recognized him anymore as Dudley Dursley. Nine years later, we → continue…

From:: Taste Of Cinema

Cooke adds additional focal lengths to its S7/i and Panchro/i Classic lenses

By Matthew Allard ACS

Cooke Optics has announced new focal lengths for their S7/i and Panchro/i Classic lenses. The full frame S7/i series will now include a 16mm, 21mm, 27mm and 65mm, while the…

The post Cooke adds additional focal lengths to its S7/i and Panchro/i Classic lenses appeared first on Newsshooter.

→ continue…

From:: News Shooter

Cooke adds additional focal lengths to its S7/i and Panchro/i Classic lenses

By Matthew Allard ACS

Cooke Optics has announced new focal lengths for their S7/i and Panchro/i Classic lenses. The full frame S7/i series will now include a 16mm, 21mm, 27mm and 65mm, while the…

The post Cooke adds additional focal lengths to its S7/i and Panchro/i Classic lenses appeared first on Newsshooter.

→ continue…

From:: News Shooter

The Broccoli Tree and the dangers of sharing photos of the places you love online

Landscape, wildlife, and adventure photographers (among others) will often keep their most treasured locations and subjects secret. And while this might seem rude or selfish or mean, the tale of The Broccoli Tree in Sweden—told beautifully in a recent vlogbrothers video by best-selling author John Green—explains exactly why this practice might also be necessary.

The Broccoli Tree, for those who aren’t familiar, is (or was) a tree in Huskvarna, Sweden that somehow became social media famous.

Photographing this tree became a passion project of photographer Patrik Svedberg, and over the course of 4+ years, the tree gained quite a following on Instagram. In fact, it kind of became Insta-famous so-to-speak, accruing over 31,000 followers to date.

But Insta-fame comes with consequences in this day and age. No matter how beautiful or inspiring, no matter how much joy something brings to the general populace, there will always be those people who get some deluded self-satisfaction out of destroying it.

This is what happened to The Broccoli Tree.

One day in September of 2017, Svedberg went to photograph his favorite tree, only to find that someone had sawed one of the tree’s branches almost all the way through. It wasn’t long before the whole tree had to be cut down.

Klaus and Uwe Eckerl on DoF

By Jon Fauer In “Depth of Field Repealed,” FDTimes called for comments on “The difference in depth of field between Large Format and S35, comparing lenses with the same angle of view.” Klaus and Uwe Eckerl, Managing Director and Optical Designer of IB/E Optics in Bavaria, write: Yes, Circle of confusion really causes some confusion. In brief, I agree with ARRI (1 top difference)…. read more… → continue…

From:: FD Times

Report: Agfa Vista film is no more, stock drying up world-wide

According to a report by Japan Camera Hunter, Agfa Vista color negative film is no longer being produced. The site says the information—which has been rumored for a few months—has now been confirmed by ‘reliable industry sources,’ and that supplies are drying up around the world.

The film has become popular for its low cost and punchy colors, but obviously not popular enough for it to remain in production.

Since the demise of AgfaPhoto GmbH in 2005, the film was distributed by Lupus Imaging and Media, a marketing company that bought the rights to use the Agfa name on a range of items from film to memory sticks. At first, the company slit the remaining stock from Agfa’s factory in Leverkusen, but in more recent times it is widely believed Fujifilm was the manufacturer of the Vista films.

Japan Camera Hunter’s dramatised Death of Vista illustration.

Agfa was one of the very early experimenters with color photography, bringing a color emulsion to the market shortly after Kodak introduced Kodachrome. Agfacolor Neu was much easier to process, however, as it needed only one pass through the chemistry to develop all three colors.

Rolls of Agfa Vista in both ISO 200 and 400 varieties are still available from specialist stores and even Amazon UK, so panic buying hasn’t quite taken hold yet. But JCH doesn’t expect stock to last too long.

→ continue…

From:: DPreview

NSW, Australia Locations – A Shoot & Workflow for Every Story

By Ben Allan ACS CSI

The global competition to lure runaway film productions has become increasingly intense over recent years with countries and states around the world offering a range of incentives to attract the…

The post NSW, Australia Locations – A Shoot & Workflow for Every Story appeared first on Newsshooter.

→ continue…

From:: News Shooter

NAB 2018 in arrivo la nuova Canon EOS C100 Mark III con il 4K in camera ?

By News

Al prossimo NAB 2018 è certo che una telecamera Canon Cinema EOS subirà un aggiornamento, ed è probabile che ci sarà una Cinema EOS C100 Mark III, anche se non abbiamo ancora ricevuto conferme, una fonte ci ha detto che vedremo una C100 Mark III 4K ad aprile, al momento non ci sono state inviate altre specifiche.

The post NAB 2018 in arrivo la nuova Canon EOS C100 Mark III con il 4K in camera ? appeared first on ProAV News e informazioni Foto, Cine Video .

→ continue…

From:: Pro AV

‘I’m Back’ digital back for analog SLRs successfully returns to Kickstarter

Last year, a Kickstarter project for a product called ‘I’m Back’ offered a digital back for 35mm film cameras, but it wasn’t successful. Now, the product has relaunched on the crowdfunding platform, where it has successfully raised (and exceeded) its €20,000 (~$25,000 USD) funding goal. As with other digital back products, “I’m Back” claims to transform an analog film camera into a hybrid that can capture digital images.

‘I’m Back’ is billed as a low-cost alternative to other digital back products, one that offers a 16MP Panasonic sensor with options to capture images starting at a 2MP resolution. The system works by capturing images off the device’s focusing screen, which results in “the nice vintage flavor of your 35mm camera,” according to the product’s creator.

The digital back also features a 2-inch touchscreen display, Wi-Fi for image transfers, and mobile control via smartphone. Other features include HDMI, USB, a 128GB microSD card for storage, a NOVATEK 96660 processor, and rechargeable battery.

According to the Kickstarter page, ‘I’m Back’ is directly compatible with many 35mm analog cameras, including multiple models from Nikon, Canon, Olympus, Pentax, Yashica, Leica, and Contax. However, a universal adapter accessory enables the digital back to be used with nearly any 35mm camera, including the Lomography Diana seen in the photo above.

‘I’m Back’ has raised nearly €29,000 (~$35,500 USD) on Kickstarter so far. Interested buyers can back the project with pledges starting at €225 (~$277 USD) for the ‘Pro’ kit, with global shipping to backers estimated to start in September of 2018. For more info, or to put down your own pledge, visit the Kickstarter page here.

And if you’re curious what DPReview thinks of these digital conversion products, → continue…

From:: DPreview

“How Do You Communicate Backstory, Motivation and Theme Without Dialogue?” A Quiet Place Screenwriters Bryan Woods and Scott Beck at SXSW 2018

By Matt Mulcahey

The movie: A Quiet Place, which served as the opening night film of the 25th South By Southwest Film Festival The plot: A family struggles to survive in silence on a rural farmstead amid a flock of sonically acute creatures that attack upon hearing the slightest sound. Starring Emily Blunt and John Krasinski, who also directed. The interviewees: Screenwriters Bryan Woods and Scott Beck, who grew up in Iowa together and have been making films as a team since junior high. I met them while working in the camera department on their most recent directorial effort Haunt, which wrapped production […] → continue…

From:: Filmmaker Magazine

“Think of Me as a Glorified Member of the Art Department”: Tilda Swinton’s Qumra Masterclass

By Adam Cook

An initiative of the Doha Film Institute, Qumra is a focused event that connects Qatari and international directors receiving different stages of DFI-funded support with industry delegates from across the spectrum of the film world as well as a handful of heavy-hitting “Masters,” in a mentor-like capacity who meet with emerging talents and engage in public conversations. Kicking off a series of impressive masterclasses at the fourth edition of Qumra, Tilda Swinton took the stage in a revealing two-hour conversation with TIFF’s Artistic Director, Cameron Bailey. Q&As with big talent are typically geared towards a relatively broad audience formed of […] → continue…

From:: Filmmaker Magazine

IFH 224: TOP SECRET Indie Film Hustle Project Finally Revealed – Indie Film Hustle

By Alex Ferrari

TOP SECRET Indie Film Hustle Project Finally Revealed The day is finally here. I’ve been teasing you guys for months now. The top secret project I’ve been working on is my next feature film called “On the Corner of Ego and Desire.” The entire film was shot at this year’s Sundance Film Festival. The film…

The post IFH 224: TOP SECRET Indie Film Hustle Project Finally Revealed appeared first on Indie Film Hustle.

→ continue…

From:: Indie Film Hustle

Instagram might bring back the chronological feed

In 2016, Instagram changed the way the images of the users you are following are displayed in the app from a chronological feed, to a much-debated ‘”algorithm feed”, causing a fairly heavy backlash among its user base.

The chronological feed wasn’t even kept alive as an option, meaning that since this change users have had to rely on the intelligence of Instagram’s algorithm instead of simply seeing posts appear in real-time. Then, adding insult to injury, Instagram recently started inserting “recommended” posts of users you’re not even following into your (still algorithmic) feed.

Almost two years after the change, users are still complaining about the algorithm feed, but there are now signs Instagram might bring the chronological feed back as an option.

Resource Magazine reports that Instagram user @jackharding posted a video of his Instagram stories, showing his feed was in chronological order and including the following comment:

“Instagram back to chronological order. I wonder if this is good or bad news.”

This could simply have been coincidence, but In a follow-up story the same user revealed he is an Instagram employee, and part of a beta test of the new chronological feed. And while my own Instagram feed is still in algorithm mode, more reports about users seeing a chronological feed have since appeared on the web.

So, if you’re one of the many (many, many) users who have been missing Instagram’s chronological feed over the past two years, it seems there is now hope. For already-popular accounts with massive engaged followings, a move back to chronological could actually hurt their reach; however, for anyone looking to build a following on Instagram, it would level the playing field → continue…

From:: DPreview

SFFILM Announces Its Launch Program’s 2018 All-Doc Slate

By Scott Macaulay

SFFILM announced today the five titles that will comprise its 2018 Launch Program, an initiative intending to highlight for the industry a select group of world-premiering films drawn from different sections of the San Francisco International Film Festival. Films in last year’s Launch Program went on to be bought by distributors includingMagnolia Pictures and Sundance Selects, and SFFILM hopes to build on that momentum this second year. Interestingly, this year’s line-up consists entirely of docs as opposed to the 2017 edition, which featured two of five fiction titles. “We are delighted to shine the spotlight on our second year of […] → continue…

From:: Filmmaker Magazine

“Where Are the Men I Can Imagine on a Horse?”: Valeska Grisebach on Western

By Jesse Cumming

Given the sense of suspended time often pervading the narratives and atmospheres of classic westerns, perhaps it’s appropriate that the wait for Valeska Grisebach’s own Western was a protracted one. Arriving eleven years after her previous film, the understated Sehnsucht (Longing, 2006), the third feature by the German filmmaker (and Berliner Schuler constituent) sacrifices none of the depth and focus of her previous work. With a plot following a group of German construction workers in Bulgaria, the film is in some ways far removed from the vast plains and Monument Valley iconography we identify with the Hollywood western tradition, while at […] → continue…

From:: Filmmaker Magazine