Author Archives: News

Adobe’s Project ‘Deep Fill’ is an incredible, AI-powered Content Aware Fill

The coolest technology to come out of Adobe MAX is, sadly, not the technology we already have access to. Like Adobe’s Project Cloak we showed you earlier today, it’s the incredible ‘Sneaks’ sneak peeks that really wow the audience. Case in point: check out Project Deep Fill, a much more powerful, AI-driven version of Content Aware Fill that makes the current tool look like crap… to put it lightly.

Deep Fill is powered by the Adobe Sensei technology—which “uses artificial intelligence (AI), machine learning and deep learning”—and trained using millions of real-world images. So while Content Aware Fill has to work with the pixels at hand to ‘guess’ what’s behind the object or person you’re trying to remove, Deep Fill can use its training images to much more accurately create filler de novo.

The examples used in the demo video above are impressive to say the least:

And just when you thought the demo is over, you find out that Deep Fill can also take into account user inputs—like sketching—to completely alter an image:

In this way it’s a lot more than a ‘fill’ feature. In fact, Adobe calls it “a new deep neural network-based image in-painting system.” Check out the full demo for yourself above, and then read all about the other ‘Sneaks’ presented at Adobe MAX here.

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From:: DPreview

Sony offers free repair on the Zeiss 50mm f/1.4 FE lens affected by fog issues

By SonyAlpha Admin

Sony Japan issued a statement for a free repair service on the Zeiss 50mm f/1.4 FE lens. Lenses with the serial number between 1800001 and 1810699 and the lenses with serial number between 8300001 and 8300119 are affected by a fog issue that appears in certain conditions.

The post Sony offers free repair on the Zeiss 50mm f/1.4 FE lens affected by fog issues appeared first on sonyalpharumors.

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From:: Sony Alpha Rumors

The 15 Most Thought-Provoking Sci-Fi Movies Of All Time

By Mike Gray

Like no other genre, science fiction in film has the capacity to create situations, characters, and narratives that can stretch the limits of what can be done in a narrative. Untethered to any responsibility of reflecting reality, sci-fi can travel to the ends of the galaxy, create beings out of whole cloth, and allows for the inexplicable–if not impossible–to occur. And while sci-fi movies are often associated with big-budget, effects-driven spectacles, the genre also allows for films that investigate incredible, thought-provoking concepts and ideas that would otherwise be impossible through any other type of film.

Sometimes these ideas become so well-known they penetrate popular culture and become part of everyday vocabularies; in a few instances, they become shorthand for or create a new concept that enters the vernacular. But as it is with any genre, there are a number of great, thought-provoking sci-fi films that aren’t well-known outside of its core fan base.

However, these films shouldn’t be slept on–they are standout examples of just how sci-fi can transcend the expected tropes of alien monsters, spaceships, and far-out technologies to deliver insightful stories that investigate the nature of being alive and elucidate difficult philosophical ideas by using the devices of the genre as surgical tools to cut to the heart of the matter. With that in mind, here are 15 of the most thought-provoking sci-fi movies of all time.

15. The Thirteenth Floor (1999)

The Thirteenth Floor

Douglas Hall has been working for years with his mentor to create a simulated world that is a representation of 1937 Los Angeles. When his mentor is murdered, he becomes a suspect and finds an ally in the long-lost daughter of his mentor, Jane (Gretchen Mol). Entering the simulation he and his mentor built, Hall finds messages left for him that also → continue…

From:: Taste Of Cinema

Gorgeous Jaguar F-PACE commercial shot on the Canon C200

By Matthew Allard ACS

If you had any doubts about the quality of Canon’s new C200, they should be put to rest after seeing this commercial that was shot for Jaguar in New Zealand.…

The post Gorgeous Jaguar F-PACE commercial shot on the Canon C200 appeared first on Newsshooter.

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From:: News Shooter

Gorgeous Jaguar F-PACE commercial shot on the Canon C200

By Matthew Allard ACS

If you had any doubts about the quality of Canon’s new C200, they should be put to rest after seeing this commercial that was shot for Jaguar in New Zealand.…

The post Gorgeous Jaguar F-PACE commercial shot on the Canon C200 appeared first on Newsshooter.

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From:: News Shooter

Shooting 12 Hours Worth Of Footage In An 8 Hour Day

By Noam Kroll

As many of you know, earlier this year I launched a newsletter titled Micro-Budget Weekly, in which I share actionable filmmaking tips, advice, and stories from the trenches every Sunday with subscribers. Thousands of you have already signed up, and it’s been such a great experience to connect with so many of you on this new platform.

I rarely post these newsletter articles here on my main blog, but occasionally I will make an exception to ensure readers that have only recently subscribed to my newsletter (or have yet to subscribe) don’t miss out on any key content.

So with that in mind, please enjoy one of the very first Micro-Budget Weekly articles below!

Shooting 12 Hours Worth Of Footage In An 8 Hour Day

I faced one of the biggest challenges in production that I ever have on my recent feature film Shadows on the Road

Our cast could only work 8 hour days.

Well technically, they could work longer if we had a bigger budget… But since they were SAG-AFTRA members, anything over 8 hours would have been considered overtime, and that was not something we could afford on our shoestring budget.

To add insult to injury, on many days we shot far enough away from Los Angeles that their travel time to set also counted toward those 8 hours. This meant we often only actually had 6 or 7 hours with the actors on set, and needed to shoot an average of 10 pages per day.

Unlike larger productions that routinely shoot 12+ hour days, and only need to shoot 3 – 5 pages per day, we did not have the luxury of time on our side. As such, we had no choice but to develop some techniques for working extremely efficiently in order to ensure we captured all of the material we → continue…

From:: Noam Kroll

How to make people look their best on camera

By (Neil Oseman)

Don't get your lighting in a twist. Follow these tips to light people to look their best

Lighting and shaping a human face well is one of the most difficult things to do for a cinematographer. There are all sorts of variations that prevent a ‘one solution fits all’ approach. Neil Oseman passes on some tips on shining the best light on people.

  • Lighting
  • cinematographer
  • Cinematography
  • Key Light
  • backlighting

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    From:: RedShark News

    An October 31st Kind of Movie (w/ Evan Dickson)

    By Film School Rejects Evan Dickson’s Totem is the first feature length screenplay he’s seen produced, and he’s brought three pages of the screenplay with him for us to analyze on the show. The horror film about a widower bringing a new girlfriend to live with him and his 17- and 8-year-old daughters in a home with a vengeful spirit hits Cinemax on Halloween night.

    We chat with him about writing a fresh installment from a well-worn genre [0:00 – 25:35] and then do a surprisingly competent dramatic reading of three pages from the screenplay [27:00 – 48:00] before dissecting what the scene is supposed to achieve and how it does it. → continue…

    From:: Sound Cloud

    Nominations Announced For 27th Annual IFP Gotham Awards

    By Admin


    The Independent Filmmaker Project (IFP), the nation’s premier member organization of independent storytellers, announced today the nominees for the 27th Annual IFP Gotham Awards. For 2017, ten competitive awards will be presented to independent features and series…

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    From:: Shoot OnLine

    Josh Brolin Loves Making Marvel Movies Just as Much as Prestige Drama — and It’s Not About The Money

    By Chris O’Falt He’s worked with the Coen Brothers, Paul Thomas Anderson, and Denis Villeneuve, but Brolin tells IndieWire that he finds unique challenges in Thanos and Cable as well. → continue…

    From:: Indie WIRE Filmmaker Toolkit

    LEE’s new Reverse ND filters help you tame that bright horizon

    LEE Filters has launched three new Reverse ND filters that are designed to reduce horizon exposure by up to 4 stops, helping you get ‘perfectly balanced’ sunrise and sunset photos.

    What distinguishes a Reverse ND from a regular graduated ND filter is that the center of these filters are most opaque, becoming clearer and clearer as you ‘fade’ to the top of the filter. This makes them ideal for scenes where the sun sits close to the horizon. And unlike competing Reverse ND filters, LEE claims that its versions have an “extremely smooth and gradual” transition so that the resulting images don’t appear to have a strong dark stripe in the middle.

    Here they are demonstrated by photographer Mark Bauer, who worked with LEE to develop this range of Reverse ND filters that he says, “do the job properly” without the harsh transitions he’s noticed when using other brands:

    The new filters are offered in 0.6, 0.9, and 1.2 strengths representing 2, 3, and 4 stops of exposure reduction, respectively. As well, all three filters are hand-manufactured for 100mm, Seven5, and SW150 systems. LEE says its Reverse ND filters work best when used with lenses that are at least 24mm wide.

    The filters are currently available for preorder at the following prices:

    Seven5: $125 / £81.80
    100mm: $175 / £114.34
    SW150: $200 / £125.56

    To learn more, head over to the LEE Filters website by clicking here.

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    From:: DPreview

    Photographer sues New York Times over age discrimination and ‘full-time freelancer’ status

    Photo by Haxorjoe

    The New York Times and its photography director Michele McNally have been hit with a lawsuit by former Times’ photographer Robert Stolarik. The lawsuit claims that Stolarik, age 48, was discriminated against due to his age, and was also misclassified as a ‘full-time freelancer’ for nearly a decade.

    According to the complaint—which was filed on July 6th in New York and covered at that time by Bloomberg BNA—Stolarik began working for the Times as a photographer in Colombia in 2000, followed by additional work in Venezuela until 2002. Stolarik then resumed working for the Times in 2004, the legal document explains, ultimately resulting in nearly a decade of full-time work.

    However, despite working full-time, the lawsuit claims that Stolarik was paid under a 1099-MISC form as a freelancer—a classification that deprived Stolarik of the benefits that would have come with full-time employment, including health insurance.

    The complaint alleges that editors managed Stolarik in the same manner as employees, including giving specific start times for his assignments which regularly comprised 8-hour shifts. Stolarik claims that he was denied overtime pay for extended shifts and that he was not compensated for the time he was required to spend editing photos outside of his assignment hours.

    The allegations continue from there, claiming that Stolarik ‘regularly sought’ a staff photographer position with the NYT, making his desires known both in writing and orally. Age discrimination allegedly prevented him from getting a full-time role with the company, though. The complaint states that “Stolarik was told on numerous occasions by various editors that he was too old” to get the staff position he sought.

    One Times editor is accused of having asked Stolarik if he was under 30 years old, abandoning an effort to get him a staff → continue…

    From:: DPreview

    ‘Thelma’: Eskil Vogt on Why You Should Throw Away Screenwriting Guides to Write Cinematic Movies

    By Emily Buder

    Joachim Trier and Eskil Vogt began writing ‘Thelma’ based on set pieces and imagery rather than plot.

    Joachim Trier’s Thelma, co-written with longtime collaborator Eskil Vogt, is a departure from their previous work. Respite, Oslo, August 31st, and Louder than Bombs were discursive character studies steeped in naturalism. Thelma, although also character-driven, is a spectacle of a film, featuring grandiose imagery and supernatural powers.

    When Thelma (Eili Harboe), a demure college freshman, leaves her strict and religious family to study in Oslo, she begins experiencing violent seizures. The seizures worsen as she finds herself intensely drawn to a classmate, Anja (Kaya Wilkins). Complicating things further is the fact that Thelma, much like Stephen King’s Carrie, discovers she can manipulate the external world with her mind—but just how she can control this force, and whether or not it is benevolent, remains to be seen. Told with careful attention to detail and a chilling slow burn, Thelma is a supernatural coming-of-age story and a meditation on faith and the ruinous nature of desire.

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    From:: No Film School

    Leaving the Hasidic Faith: Heidi Ewing and Rachel Grady on One of Us

    By Erik Luers

    Described at one point in the film as a community based on survivors of trauma, the Hasidic population of Brooklyn, New York is known for being a tight-knit religious group as private as it is self-dependent. Keeping to the strict customs inherited from their ancestors, the men and women separate themselves from the secular community by adhering to strict dress codes, luddite beliefs and a need to keep their families intact. Equally stringent and oppressive, the Hasidic faith — in the case of Heidi Ewing and Rachel Grady’s new investigative documentary, One of Us, Hasidic New Yorkers — are particularly firm […] → continue…

    From:: Filmmaker Magazine

    These 3 Adobe Sneak Peeks Are a Big F*cking Deal for the Future of Post Production

    By Christopher Boone

    Hold on to your butts.

    Last night at Adobe MAX, the company unveiled several sneak peeks at future projects Adobe is currently working to include in its Creative Cloud suite. Three of those sneak peeks will be of particular interest to anyone working in the post-production realm.


    At the end of its sneak peeks, Adobe unveiled Cloak, which is content-aware-fill for video. Cloak enables removing unwanted things from a video by imagining what would appear if these unwanted things were removed.

    One of the most striking features of Cloak is its ability to imagine what the pixels behind an element might look like when they are never actually revealed in any frame of the video, then automatically generate those pixels frame-by-frame to match the rest of the shot. To demonstrate this feature, Adobe used Cloak to remove the strap of a man’s backpack sitting across his chest as he walks through a canyon in varied light.

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    From:: No Film School