New York

Directors Josh and Benny Safdie and Cinematographer Sean Price Williams Talk Shooting Good Time in NYC on 35mm at IFP Week

By Matt Prigge

Directors Josh and Benny Safdie and cinematographer Sean Price Williams go way back. Their latest collaboration, the crime thriller Good Time, is the trio’s fourth joint effort. They’re not only used to each other; they’ve also been through some real shit. The Safdies love to work rough and tumble, filming most of their movies — including Daddy Longlegs and Heaven Knows What, both shot by Williams – on the streets and apartments of New York, feeding off and bottling up the city’s uniquely chaotic energy. For Good Time, they even dragged a big name, Robert Pattinson, along for the ride. To get […] → continue…

From:: Filmmaker Magazine

Cutters Studios’ Altruistic “Project For Good” Delivers First Initiative, For Chicago Non-Profit Bootstrap Villages

By DWAgency


Over the past 37 years, commercial editorial company Cutters has expanded its core skillset to include world-class live-action production (Dictionary Films), design, animation and visual effects (Flavor), interactive development (Picnic Media) and audio mixing (Another Country). Beyond its…

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From:: Shoot OnLine

Finding My Filmmaking Community (Or, I Moved from LA to NY to Make Movies — What Was I Thinking?)

By Adam Keleman

Adam Keleman’s humor-laced melodrama Easy Living — about a door-to-door makeup salesman (Hannibal‘s Caroline Dhavernas) — opens tomorrow in New York at the Cinema Village before becoming available on digital platforms Tuesday, September 19. Below, he contributes a guest essay on his path towards becoming a feature filmmaker — a journey that took him from Los Angeles to New York. Los Angeles is an isolating place — and I can say that as a native. I was born and raised in the San Fernando Valley, that large, sprawling suburb simply known as “The Valley,” memorably featured in such films as […] → continue…

From:: Filmmaker Magazine

“You Plan to Make a Film and Then You Try Not to Make the Film You Planned on Making”: Jake Mahaffy on Free in Deed

By Scott Macaulay

Filmmaker readers first encountered the singular cinema of Jake Mahaffy back in 2005, when we placed him on our “25 New Faces” list on the basis of his extraordinary, Tarkovsky-esqure War, a post-collapse saga shot on a handcranked camera (and made years before post-collapse films and television became suddenly fashionable). On the basis of that film and the two features that have followed — including his latest, Free in Deed, currently in theaters (in New York, it’s playing Cinema Village) — Mahaffy has, in my opinion, staked out a quiet reputation as one of our most accomplished and necessary of […] → continue…

From:: Filmmaker Magazine

Not your typical superzoom: Sony Cyber-shot DSC-RX10 IV gallery and impressions

Immediately after its announcement in New York, we got a chance to shoot with the latest addition to Sony’s RX series, the long zoom, fast shooting, 4K-capable RX10 IV.

The first thing that becomes apparent is that the addition of phase detection immediately sets right the biggest limitation we experienced with its predecessor. Even across a range of shooting subjects, the autofocus was fast and exhibited vey little in the way of hunting.

Shooting at 24 frames per second you get used to going a little easy on the shutter button

Shooting at 24 frames per second you get used to going a little easy on the shutter button: hold it down for too long and, especially if you’re shooting Raw, you can expect to be locked out of the menu for a considerable period of time. Like recent Sony models, you can now enter playback mode while waiting for the buffer to clear, and the camera will show you the images it’s had time to process.

Intelligently, the camera groups all the shots from a burst together, meaning your card doesn’t become impossible to navigate, even if it’s full of groups of >30 image bursts. As you scroll through, you can hit the center button to expand the group and see the individual images.

Shooting sports

Overall, the camera is extremely responsive. The viewfinder doesn’t give you updates quite as immediately as looking through an optical viewfinder but it’s fast enough that, with a bit of practice, I was able to follow the relatively unpredictable action of a football (soccer) game, even when fairly zoomed-in.

The touchscreen isn’t the most responsive we’ve encountered but felt quicker than the one on the a6500. Tap quickly around the screen and you’ll notice the AF point will sometimes noticeably lag behind your current location, but this → continue…

From:: DPreview

(SR5) Follow live: Sony announcement at 10am New York time!

By SonyAlpha Admin

Sony will have a product announcement today at 10am New York time. That’s 15:00 in London or 16:00 in Berlin. There may be a live streaming I can embed here on SAR. So please stay tuned to not miss anything! To not miss any rumor quickly subscribe our social network: RSS feed: Facebook: […]

The post (SR5) Follow live: Sony announcement at 10am New York time! appeared first on sonyalpharumors.

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From:: Sony Alpha Rumors

7 Reasons Why “Synecdoche, New York” is an Underrated Masterpiece

By Juan Orellana

I’ve always considered weird the fact that a lot of people talk about cinema as if it was an entity separated from reality, operating on its own set of rules, foreign to everything else. A good character must have this or that trait, audiences want action above all else, an efficient script needs to have a clear three act division, every frame of a film has to contain intrinsic symbolism that furthers its themes, etc. “Rules” like these have always bothered me because the person who states them assumes that all great films have to be formulaic products, when nothing could be further from the truth.

In my opinion, cinema is the closest humans can get to communicating; not just in a rational way, but in a (for a lack of a better word) spiritual way. Every movie is born out of a series of experiences. Depending on the individual, those experiences can become songs, paintings or plays. However, the filmmaker chose to turn them into a movie. In a way, every movie is “based on a true story,” no matter how fantastical.

Why are most stories structured in three acts? Because that’s how our brains work, that’s how people usually tell a story to their friends: context, development and payoff. No one invented it; it grew naturally from human interactions. Same with character development, dialogue, cinematography or editing. All of these elements come from reality. What makes cinema unique is the way it can truly emulate existence. Not just how something looks, but how it feels to actually experience firsthand what happens to the characters.

Ideas like these had been floating in my brain for years because I wasn’t able to actually verbalize them until I read “Sculpting in Time” by Andrei Tarkovsky. His movies are a testament of his deep understanding → continue…

From:: Taste Of Cinema

10 Movies That Deserve To Be Reevaluated Now That Times Are Different

By Andreas Babiolakis


The Velvet Underground and Nico is tumultuous on the first listen, and it was much more difficult when it first came out 50 years ago. Many years later, the album was seen as one of the greatest innovators of contemporary music. I start this film article with an album’s history, because it can sometimes be easier to measure the evolution of a piece of art—regardless of its same form from the start—with a short burst that stood out from the rest of its kind.

Cinema has its similar examples of art house releases that changed mainstream cinema, whether you look at the fragmented dreams of Maya Deren or observe pop culture in a new light with “Scorpio Rising”.

Some films are also reexamined many years down the road. Were they ahead of their time? Were we not in the right mindset to get these films before? Did we have to see the inspiration spew from latter films to see where the imagination in these overlooked gems spewed from? “Synecdoche, New York” was considered a depressing and bloated affair 10 years ago, yet it is now highly reconsidered for its ambitions and depth.

The following list of movies isn’t akin to the way “Synecdoche, New York” has been reevaluated. These films haven’t quite shaken up the world. In fact, a portion of these films are still considered lousy or unfulfilling. A couple of these films are already being looked at in a new way, while the rest are entries I insist get the same kind of treatment.

None of these films are mistaken masterpieces I’m trying to shove down the throats of you fellow readers; these are simply movies that I think speak louder than they did when they were first made. Some of these films aren’t as disturbing as when they came → continue…

From:: Taste Of Cinema

PODCAST: An Interview With Lift-Off Film Festival Founder Ben Pohlman

By Noam Kroll

As one of the founders of The Lift Off Global Network of Film Festivals, Ben Pohlman has made it his mission to not only program groundbreaking films at his festivals, but also to help filmmakers thrive in the commercial marketplace and flourish in their careers.

Over the course of this hour long interview, Ben draws from his unique background as a festival founder to de-mystify the jury selection process and give filmmakers a realistic view of what it takes to get accepted. He also sheds light on many other critical topics including: The odds of getting into a festival, optimal runtimes for shorts & feature films, the main reasons why films get rejected, what happens after you’re accepted, and much much more.

Originally launched in England in 2011, Lift-Off is now in ten cities across the globe including: Los Angeles, London, Paris, Berlin, Manchester, Tokyo, New York, Vancouver, Amsterdam, & Sydney. The festival network has grown rapidly as it’s support of true independent film and emphasis on finding representation and global audiences for it’s alumni.

Episode 21: An Interview With Lift-Off Film Festival Founder Ben Pohlman

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From:: Noam Kroll