Feature Focus: Take a Look at Adobe Premiere Pro’s New Responsive Design Tools

By Jason Boone

Adobe has been busy.

Adobe just released the latest version of Premiere Pro with all of the updates announced back at IBC, and to say there are a lot of new features would be a bit of an understatement. A particularly interesting addition to the Premiere toolset is the new responsive design features in the Essential Graphics panel. Editors now have the ability to pin keyframes to the In and Out points of clips, allowing you to change the duration of clips without having to manually move keyframes. You can also pin layers to other layers for responsive design in relation to position. Let’s take a closer look at how to apply both.

Responsive Design – Time

For this example, I have Position and Opacity keyframes applied to a text layer. I’m using the word France as a title graphic, and the keyframes are animating the text in and out of my shot. My problem is that any time I trim the clip, I must manually move the keyframes as well. The new responsive design feature fixes this problem.

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From:: No Film School

10 Movie Masterpieces That Are Criminally Underrated (Part 3)

By David Zou

Throughout film history, geniuses made masterpieces that represent not only the issues of their own times but also reaching universal themes — these movies are relatable years after their initial release.

This list compiles such works from around the world: Italy, Japan, France and beyond, crossing over genres from horror to comedy.

10. In Search of Fellini (2017)

In Search of Fellini

This is a masterpiece that does not seem like a masterpiece. The plot might look cliched, the characters might be stereotypical and stupid,. What makes this recent film a great motion picture is an unwavering, almost religious love for the cinema—in particular, the masterpieces of Federico Fellini.

In Search of Fellini is best understood by true lovers of the cinema—for any other casual viewer, this movie might not be the best entertainment. Yet for the real cinephile, the South African director Taron Lexton’s infectious love letter to the movies is more than touching: it can be earth-shattering.

A coming-of-age film structured around a young girl’s (Ksenia Solo) attempts to meet Fellini, the audience witnesses her marveling the antique beauties of Italy, falling in love, being deceived, and grew into an adult. The message is this: we may have to go far away to find what’s within, we need to see humanity’s ugliness to see its beauty, perhaps we pass through many horrors just to rediscover our love for the world.

Before watching this film, it is best to establish a familiarity with Fellini’s works—in particular, La Strada (1954). This movie reminds its audience how the silver screen truly lights up the world.

9. Himizu (2011)

Himizu (2011)

This is perhaps Sion Sono’s best work since Love Exposure (2008). The earlier film is → continue…

From:: Taste Of Cinema

‘Loving Vincent’: Animating Van Gogh’s Life in 65,000 Oil Painted Frames

By Max Winter

Piotr Dominiak, the film’s Head of Painting Animation, coordinated 125 painters to create the world’s first oil-painted animated film.

For a film as relentlessly active as the new animated feature Loving Vincent, with its flickering, restless lines, it is at times surprising that so many of its tableaux, a large percentage of which were inspired by Vincent Van Gogh’s paintings, have such a private, quiet quality to them.

We see an empty alleyway, an unpopulated bar, a treelined lane. Perhaps rain is falling. A figure walks, or should I say swims, across the frame. There is some echoing dialogue. The story, which concerns the ambiguities around the last days of Vincent Van Gogh’s life before he shot and fatally wounded himself in a small town in France, moves forward.

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From:: No Film School

Happy End – VIFF 2017 Review

By David Zou

Austrian writer-director Michael Haneke (Funny Games, Amour) revisits familiar intellective terrain in his most recent rigidly composed treatise on haute-bourgeois prerogative, Happy End.

In fact, so recognizable are Haneke’s pet themes of old-line disaffection amidst the intersection separating media estrangement and bubbling-just-below-the-surface violence, that the sadistic streaks and elegant arcs are all too easy to anticipate.

Add the return of his former muse from The Piano Teacher (2001) and Time of the Wolf (2003), Isabelle Huppert, and Happy End tends to play a little like Haneke’s “grimmest hits”––and while not necessarily a dig, it does take some of the sting out of the pointed farce being presented.

Set in Calais, a coastal town in northern France that’s influx of migrants have placed the region at the hub of the European refugee crisis, a periphery detail that may easily be lost on North American audiences, nevertheless this is the scrim wherein the affluent Laurent family flourishes.

Their patriarch is Georges (Jean-Louis Trintignant), slowly going senile, he’s losing his will to live; there’s also his niece Eve (Fantine Harduin), a 13-year-old sociopathic sadist with a knack for poisoning and catfishing on social media, she’s straight out of an updated Benny’s Video (1992); also there’s Anne (Huppert), Eve’s aunt, running Georges’ accident-prone construction firm, soon to wed one Lawrence Bradshaw (Toby Jones) while trying to reel in her astray, alcoholic, and unapproachable son, Pierre (Franz Rogowski).

There are more players in the Laurent clan, but you get the picture that this extended, well-to-do lot fill in some soap opera-like tropes, given the Haneke treatment which involves a full complement of psychological allegories, mean-spirited deflections, and misanthropical messes.

There’s never any doubt during Happy End’s 107 minutes that we’re in the hands of a world-class director, though in one of his more minor movements. All of → continue…

From:: Taste Of Cinema

The 15 Best Cult Anime Movies of All Time

By Panos Kotzathanasis


Evidently, the world of Japanese animation (anime) is dominated by mainstream productions, like the ones from Studio Ghibli, particularly when we are referring to movies and not series. However, inside this vast industry, some productions that could be easily characterized as cult could not be missing.

With a focus on diversity, as I tried to include titles that range from artistic to grotesque, here are the 15 I consider the best among them, in chronological order. Please note that movies that are part of an anime series were not included, since I consider them extended episodes rather than individual features, with the exception of “Fist of the North Star”, which I felt could not be missing from this list. Another exception has been made for “Violence Jack”, which, at 55 minutes, is barely considered a movie.

15. Belladonna of Sadness (Eiichi Yamamoto, 1973)

Belladonna of Sadness (1973)

Mushi Productions, a company created and abandoned by Osamu Tezuka, (aka. “God of Manga”), produced the adult-themed anime “Belladonna of Sadness” in 1973. It was the final part of a trilogy named “Animerama”, a commercial failure that kept the title in anonymity for many years.

The script is based on Jules Michelet’s novel on the history of witchcraft, “La Sorciere”, which was published in 1862 in France.
The story revolves around a young couple named Jean and Jeanne, whose happiness ends during their wedding night, due to Droit du seigneur, a feudal law that allowed local lords to be the first to deflower the bride. That night, the local baron and possibly his lackeys rape Jeanne.

She and her husband try to forget what happened, but Jeanne is still tortured by the fact, which is personified as a demon of phallic form, who appears in her sleep. These memories have complicated results, since the demon → continue…

From:: Taste Of Cinema

120 Beats per Minute – VIFF 2017 Review

By Shane Scott-Travis

A fast-moving flight of exuberance and ecstasy set amidst the backdrop of AIDS ravaged France of the 1990s, BPM (Beats per Minute) is the visually varied, intoxicating, romantically yearning, tragically uptempo, and entirely deserving Grand Prix recipient at the 2017 Cannes Film Festival.

Directed by Robin Campillo, who also co-wrote the film along with Philippe Mangeot, drew largely upon their own experiences with advocacy and hospice as a part of the group ACT UP (AIDS Coalition to Unleash Power) in developing this compassionate, intelligent, and oft-times incredibly visceral story about homosexuality and the AIDS epidemic. And it’s a credit to the filmmakers that a movie that could have been a dirge-like dissertation or a cliché-ridden TV movie, instead nimbly embraces joie de vivre, even and especially for those standing so close to their final fragile days.

Shot primarily like an existential docudrama, BPM is sobering at the same time it’s celebratory, displaying tactile moments of anticipation and passion, humanity and hubris, as we attend handheld meetings where ACT UP plots affirmative action strategies and in-your-face educational campaigns with the immediacy and assumption of entering a theater of war.

It’s here that we meet the bright-eyed cast of characters, of which there are refreshingly few stereotypes amongst these HIV positive men and women and their supportive family members. It’s not as didactic or moralizing as it may sound, and while the story does dig in deep into a recounted personal illness tearjerker narrative –– and one that’s so beautifully handled –– BPM earns every tear with sincerity.

Particularly poignant and eminently watchable is Nahuel Pérez Biscayart as Sean, an HIV positive activist who, though militant, finds romance and great rapport with newcomer Nathan (Arnaud Valois), and as the two young men stare down doom and their own impermanence they still find so much humor, → continue…

From:: Taste Of Cinema

Getty Images bans Photoshopping models to look thinner thanks to French law

In 2015, France passed a law that will require some commercial images with a digitally retouched model to have a label notifying viewers about the alterations. That requirement will be effective starting October 1st, 2017, and Getty Images is preparing for that day with a policy change of its own.

Announced in an email that DPReview has acquired from a reader, Getty has updated its Creative Stills Submission Requirements to specify that it will no longer accept images of models whose bodies have been edited to look either thinner or larger.

The law doesn’t extend to minor digital edits, such as fixing skin blemishes, altering hair color, or altering nose shape; however, edits that change a model’s body shape require a disclosure. In response, Getty Images says that starting October 1st, photographers may not “submit to us any creative content depicting models whose body shapes have been retouched to make them look thinner or larger.”

Submitting this type of altered image will result in the photographer breaching both submission guidelines and their agreement with the company, Getty warns. The same change applies to iStock submissions, as well.

Magazines and other entities in France that use these altered photos without proper disclosure face a fine of up to €37,500 (~$45,000 USD).

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From:: DPreview