Read This Rejection Letter from Lucasfilm to Steven Soderbergh and Feel Better About Life

By Liz Nord

Soderbergh turned out alright.

In spring 1984, Lucasfilm was a rising behemoth in the production world, having successfully released all three original Star Wars films in the previous six years, and on the cusp of releasing the second in the Indiana Jones franchise. Meanwhile, a young editor in Hollywood named Steven Soderbergh was one of the presumably hundreds of aspiring directors trying to get the studio’s attention.

This week, Soderbergh shared, via his Twitter account @Bitchuation, a rejection letter he received from the company in response to his “tape directed to George Lucas.” Spoiler alert: Lucas never even popped it in the Betamax machine.

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From:: No Film School

Our Indie Problem: Financiers and Sexual Harassment

By George Rush

I have felt disgusted these last ten days reading the news about Harvey Weinstein as well as the angry and heartfelt outpouring from so many on social media. But like most of my colleagues in independent film, I’ve considered myself a step removed from the A-list parties and Hollywood glitterati that comprised so much of Weinstein’s world. My colleagues and I are making films, I have thought, as a high-minded alterative to the vapidness of Hollywood. But the last ten days has caused me to realize that we are not immune from the same problems that Hollywood is suffering. The […] → continue…

From:: Filmmaker Magazine

Godox XPro-N wireless flash trigger for Nikon boasts TTL, HSS and more for just $70

Godox has launched a Nikon version of the XPro-C 2.4GHz wireless flash trigger it announced for Canon last month. The new model—aptly titled the XPro-N—is equipped to control Godox’s X1 system, and is currently listed by online retailers as available for pre-order with shipping planned to start on October 31st.

This Nikon version will be joined by models for Sony, Fujifilm, and MFT throughout the remainder of the year.

As with the Canon version, the new XPro-N model sports a large dot-matrix LCD alongside five physical buttons. The display shows five groups, one group per physical button, as well as data pertaining to each group. The trigger supports HSS (up to 1/8000), TTL, and manual (1/1 – 1/256) control. There’s also support for TTL-Convert-Manual (TCM) functionality, which allows you to meter flashes in TTL, then switching to manual mode with the settings automatically adjusting to keep an equivalent output.

The XPro-N is listed for pre-order at $70 on Amazon.

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From:: DPreview

After the Credits: The Foreigner

By Film School Rejects After the Credits makes its triumphant return as host Matthew Monagle is joined by critic Rob Hunter to discuss the new Jackie Chan movie, The Foreigner.

Don’t forget to support our sponsor, VideoBlocks. Download all the stock video footage your heart desires for $149/year. Start today at → continue…

From:: Sound Cloud

Pixel Peeping the GoPro Hero 6 – A Look Into the Different Modes

By Gunther Machu

Having used the GoPro Hero 2, 3, 4 and – since a year – the Hero 5, I was quite excited to hear that the new GoPro Hero 6 was out. Fortunately for me, a unit arrived at cinema5D HQ for review. The first thing that I always do is have a look at the different resolutions and frame rates. Here is part I of my review of the GoPro Hero 6.

GoPro Hero 6 – Field of View

When I first analysed the Hero 4 and 5 a while back, I found that the chosen FOV made a big difference in each of the cameras, i.e. the quality of the 2.7K mode on the Hero 5 was best at the “medium” setting, whereas the 1080p 120fps setting was best left at “narrow”, as other FOV settings resulted in footage that was either either murky or presented heavy aliasing. Additionally, a high resolution combined with high frame rates would kill the encoder, causing artefacts to show up due to the limited data rate.

The first big surprise with the GoPro Hero 6: gone are the “medium” and “narrow” FOV settings! I was quite sceptical when I noticed this, as I wondered if the scaling in combination with the different resolution and frame-rate settings would work as it should. Also, I quite liked using the “medium” settings, as the fisheye look was less pronounced while still remaining wide enough at around 24mm full-frame equivalent.

With the GoPro Hero 6 you are stuck with the fisheye look as there is only wide and superview FOV, plus the linear mode which for some reason doesn’t seem to look as good as the equivalent on the older Hero 5 – something I have to confirm at a later stage.

Conclusion #1: if you don’t want to comprise → continue…

From:: Cinema 5d

Sigma expands product warranty to cover hurricane damage from Harvey, Irma and Maria

In a move that’s being praised by the photo community at large, Sigma has temporarily extended its product warranty to cover repairs for damage caused by the hurricanes Harvey, Irma and Maria. The only catch being that Sigma must receive your damaged product before December 31st of this year.

This information comes from a statement Sigma provided to Fstoppers, which is reporting that any products that can’t be repaired will be replaced at a special discounted price that is determined on a case-by-case basis. Repairs and return shipment of the products are provided for free, but customers must provide their sales receipt as proof-of-purchase.

Sigma says that customers who no longer have the receipt should contact the company.

You can read the full statement on Fstoppers.

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From:: DPreview

Watch: Michael Mann Brings the ‘Heat’ for His Expansive Master Class

By Justin Morrow

Michael Mann sat down with Guillermo del Toro and Thierry Frémaux at the Festival Lumière to share insights and his 4K restoration of ‘Heat’.

Michael Mann’s decades long career began in television, where he played a key role in designing the cinematic aesthetic of the crime drama Miami Vice. After that, he directed countless classics, many of them criminally underseen, including Thief, Manhunter (the first Hannibal Lecter movie, despite what you might have been told), The Last of the Mohicans, and his 1995 Robert De Niro-Al Pacino epic heist film, Heat. Guillermo del Toro and Institut Lumiére director Thierry Frémaux led Mann through an expansive conversation, in which the director discussed his long career. Here are three highlights from their talk (which you can watch below, or listen to on SoundCloud.)

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From:: No Film School

Adobe updates Photoshop CC with new tools, 360° image editing, HEIF support and more

The all-new Lightroom CC (and newly-renamed Lightroom Classic CC) might be hogging the spotlight at Adobe MAX 2017, but Adobe didn’t forget to throw some love Photoshop’s way. In addition to the standard performance enhancements you expect with every update, Photoshop CC has been gifted with a slew of new features, including: the new curvature pen tool, 360° spherical image editing, HEIF format support, Select and Mask improvements and more.

All of the improvements are summarized in the list below, and while none of them will blow your mind, there’s plenty there for regular Photoshop users to be happy about:

According to Adobe, the most requested improvement that ships with the new version of Photoshop CC is actually the enhanced Brush Presets and Brush Preset Management, which you can see demonstrated in the video below:

And with the explosion of 360° images into the mainstream and the release of iOS 11, the ability to open & edit spherical 360° panoramic images in Photoshop, as well as HEIF format images, is a big deal as well.

Other notable improvements include the new color and luminance range masking tools that were also added to Lightroom CC, the Curvature Pen Tool that Adobe teased us with just last month, and improved Select & Mask functionality overall. You can see these new features in action in the YouTube videos embedded below:

As with all previous updates to Photoshop CC, you won’t have to pay anything extra if you’re already a subscriber. The $10/month Creative Cloud Photography Plan now includes 20GB of cloud storage, Photoshop CC, Lightroom CC, and Lightroom Classic CC; or you can upgrade to 1TB of storage for → continue…

From:: DPreview

Microsoft Puts a Gaming GPU in a Tablet Keyboard

By Charles Haine

By stuffing a GTX 1060 into the new Surface, Microsoft takes aim directly at the Macbook Pro.

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From:: No Film School

Nude app detects and hides nude images on your iOS device

If you’ve got nude pictures of any kind on your smartphone storage, chances are you don’t want them to be seen by anyone else. There are apps that allow you to move them, and other images you want to keep private, to protected locations.

However, this tends to be a largely manual process, requiring the user to select the images in question, move them and delete the original files in the camera roll. You should also make sure no data has been automatically uploaded to iCloud, Google Photos or other cloud services.

Thanks to the new Nude app this process can now be pretty much automatized. The app scans your device for nude images using artificial intelligence. If any files are detected they are moved into the app’s protected vault and deleted from the camera roll and iCloud. Under iOS 11 image recognition is undertaken on-device but under iOS 10 and older operating systems data has to be transferred to cloud servers.

The makers of the app say Nude is also useful for keeping images of ID cards, credit cards and other important documents in a safe place but there is no mention of an automatic detection function. The app is protected via PIN or Touch ID and the app records any attempts to access your photos. There is also an integrated camera, so images can be recorded directly in the app.

The app is free to download on the Apple App Store but requires a $1 monthly or $10 annual subscription. For now Nude is only available for iOS devices but an Android version is under development.

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From:: DPreview

‘Curb Your Enthusiasm’: How the Editors Find the Comedy in the Show’s Unique Shooting Style

By Daron James

Discover the process of cutting the show’s signature improvisation into carefully crafted comedic gems.

Curb Your Enthusiasm is back. HBO is now airing its ninth season after a six-year hiatus, and the grudge-holding, socially awkward, fictionalized version of Larry David we’ve grown to love continues in a ten-episode order.

The new season was split between pilot editor Steve Rasch (3, 4, 6, 8 and 10) and Jonathan Corn (1, 2, 5, 7, 9) who joined in the second season. Interestingly enough, both Rasch and Corn are English majors rather than film students. With a distinguished appreciation for language, they’re unique as editors. For them, it’s about words and wordplay and how they can carve out an engaging tone from a massive amount of footage.

The comedy’s shooting style outlines a rare workflow for the editors that differs from traditional half-hour series. The two sat down with No Film School to share their experience about the Emmy-winning show.

No Film School: Was there any difficulty starting up again?

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From:: No Film School

Zeiss reveals Milvus 25mm F1.4 lens, the 11th in the manual-focus family

Zeiss has added a new wide-angle lens to its Milvus line of full-frame, manual focus lenses for Nikon and Canon DSLRs. The new Milvus 25mm F1.4 is now the fourth widest lens in the family—which ranges from 15mm to 135mm—and brings the total number to Milvus lenses to 11, four of which boast fast F1.4 apertures.

According to Zeiss, the Milvus 25mm F1.4 is “suitable primarily for landscape and architecture photography, and for journalistic shots and videos” thanks to its fast aperture and a new optical design that uses 15 elements in 13 groups to deliver “high-contrast photos and a harmonious bokeh.” They also claim “hardly any color fringes,” even when you’re shooting with the lens wide-open.

Like the entire Milvus line, the new 25mm F1.4 is manual focus only, and features a robust all-metal housing as well as ‘special seals’ for protection against dust and splashes.

The new Milvus 25mm F1.4 will be available starting November 2nd for 2,400 Euros (including tax) or $2,400 USD. To learn more about this lens or the entire Milvus line, head over to the Zeiss website by clicking here.

Press Release

ZEISS Unveils High-Speed DSLR Lens: ZEISS Milvus 1.4/25

With its new wide-angle focal length, the ZEISS Milvus family now boasts eleven lenses for single-lens reflex cameras, including four focal lengths with a maximum aperture of 1.4, which are perfect for videographers too.

OBERKOCHEN/Germany, 2017-10-18.

The ZEISS Milvus 1.4/25 is the latest focal length to be added to ZEISS’s largest range of lenses for full-frame single-lens reflex cameras. The lens, which was developed for the DSLR systems from Canon and Nikon is suitable primarily for landscape and architecture photography, and for journalistic shots and videos. “The completely new optical design ensures superior performance across the entire image field,” says Christophe Casenave, Product Manager → continue…

From:: DPreview

10 Modern Filmmakers Who Challenge Classic Narrative Mode

By German Torres Ascencio

Cinema started as an entertainment business more than an art business; it was a brand new technology and an art form whose artistic potential was not suspected. There were no filmmakers, only people deeply interested in storytelling and moving images. These people who had never seen a film had to start somewhere and they used what they knew about other arts such as theater, literature and painting to start working. Using some elements of these art forms allowed the first filmmakers to be understood by the spectators who recognized the forms of the other arts.

In “Film History: An Introduction”, David Bordwell and Kristin Thompson explain that this was the genesis of the Classical Narrative Mode. This is a series of conventions that are expected by the viewers when they enter the projection room. Filmmakers aligned to these conventions in order to help viewers understand the film and satisfy their necessity to find meaning in what they see.

The Classical Narrative Mode is described as a mode whose primary objective was to be universally understood, thus the films adhered to this Mode are “easy to see movies.” This does not mean that the films made in a classical approach are bad movies in any way,

These movies are not inherently bad in any sense, but they are designed to be seen in more passive positions by the viewer. With traits such as a clear timelines, conclusive endings, and characters with explicit and clear psychological patterns, the viewers do not ask many questions apart from what is going to happen next. This other important trait of the mode is a consistent story of a clear anecdote happening to a specific character or group of them. To be universally understood means being universally seen. That is why even though the mode was challenged during → continue…

From:: Taste Of Cinema

Why these big sensors make us question the practical limits

By (Phil Rhodes)

Is there a limit to how big sensors will get?

Upcoming RED and Sony cameras are set to offer us some truly enormous slabs of silicon, something that the world seems only too ready to enthuse about, given the huge imaging performance represented by such a large number of such large pixels. Are we at the limits of practical size?

  • Big Sensor
  • A7s
  • LargeSense

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    From:: RedShark News

    Adobe announces Lightroom CC and Lightroom Classic CC (and it’s the end for the standalone version)

    By SonyAlpha Admin

    Adobe just announced two version of Lightroom: Lightroom CC and Lightroom Classic C. The differences between the two are well explained at Imaging Resource and ThePhoBlographer. But the very annoying news is that there will be no standalone version of the new Lightroom CC. IR reports that Lightroom 6.13 will be released on October 26 […]

    The post Adobe announces Lightroom CC and Lightroom Classic CC (and it’s the end for the standalone version) appeared first on sonyalpharumors.

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    From:: Sony Alpha Rumors