When the original Profoto A1 entered the on-camera flash market, one huge hiccup that many photographers saw was the lack of a Sony option in the speedlight. Now, with a more robust and tweaked flash being released to address that concern and others, how does the new Profoto A1X stack up to its predecessor?
Jim Jarmusch made a career as an auteur filmmaker but even he knows the future of Hollywood lies in genre movies.
There is no easy way to break into Hollywood. It’s a complicated network full of ideas, egos, and even on a good day you need some magic to get your movie to happen. But what if I told you there was a way to definitely stand out. A way that even auteur directors like Jim Jarmusch were taking to see their projects get greenlit?
The way is thinking and creating in the genre space. And it’s paying off big time.
The Dead Don’t Die
In an interview with Film Comment, Jarmusch described what led him to this genre movie. “I wanted to make something entertaining but with some bite.” The Dead Don’t Die opens the Cannes Film Festival, and then hits at least 500 screens in France. It arrives in the U.S. on June 14.
The movie stars Adam Driver and Bill Murray as local cops who spring into action when a zombies attack the town’s citizens. Jarmusch shot the movie in upstate New York, and Murray went on record saying the director has “written a zombie script that’s so hilarious.”
Portrait Displays updates and expands its extensive line of CalMAN color calibration solutions.
CalMAN color calibration solutions are industry standard tools used by color professionals worldwide to guarantee color accuracy on displays. Their calibration solutions are “custom-tailored to provide all of the necessary tools to deliver extremely-accurate color calibrations on all types of display technologies in a multitude of color-critical environments.”
Portrait Displays offers multiple professional products, filmmakers will be most familiar with the CalMAN Studio calibration suite. It is capable of calibrating an entire production pipeline, from on-set to client review: Grade-1 reference monitors, computer monitors, and client-viewing flat panels or projectors. It also supports advanced 3D LUT capabilities.
There are many screenwriting rules out there. They’re all bullshit, except one. If you plant it early, you better pay it off later.
I love to write. It’s so freeing and when you’re having a good time writing, nothing feels better. Writing is alchemy. More often than not, you’re creating something from nothing. Sure, there are days when the Writer’s Block gets bad, and times when you need to really dig into the beats of your story to get things right, but it’s all about the journey.
The only thing I really hate about writing is how everyone tries to tell you what’s important. There are so many “rules” out there that if you wind up following them you’ll get a garbled mess.
There’s only one rule in all of screenwriting: If you plant an idea you need to pay it off.
Chimera is a top-tier lighting product company (case-and-point, its slogan is “perfect lighting”) known for excellent color rendition and an embarrassingly wide assortment of light modifiers from which to choose. Seriously, just choose a light and then google “Chimera” after it. You’ll be set.
A staple in many medium to large studio productions is access to soft, even, well-designed overhead lighting and more often than not, you’ll probably be working with the Chimera F2X or the Chimera Modular F2. I’ve used them myself for large scale studio vehicle videography (namely, an SUV) and the even exposure from corner to corner is unparalleled.
But…these modifiers required an independent light source. And quite a lot of set-up and planning.
Well…I have some news.
Chimera has announced the F3 Powered by LiteGear
It’s an overhead light bank with built-in LED panels to provide a softbox (in either a 5×5 ft. or 5×10 ft. configuration) that requires no independent source for the modifier.
There are many movies about making movies, far fewer about film school. Joanna Hogg’s The Souvenir (the first in a diptych—part two is supposed to shoot this summer) grounds itself in the early ’80s at the UK’s National Film and Television School (NFTS), where Hogg herself went to school. It was there that she experienced a tumultuous relationship, dramatized here as the story of clean-living Julie (Honor Swinton Byrne), a student who falls for Anthony (Tom Burke) after they meet at a party. All well and good, but what Julie doesn’t clock is that Anthony is a heroin addict. A real-life […]
Cannes opened its 72nd edition last night with Jim Jarmusch’s self-reflexive and divisive zomedy The Dead Don’t Die, a movie that reunites the American filmmaker with the horror genre he flirted with in 2013’s Only Lovers Left Alive, and serves to further clarify his late digital style. Though reportedly not the festival’s first choice for the slot, it’s easy to see why Cannes was content to offer it this year’s first red carpet; Jarmusch stacked his cast with A-listers—Bill Murray, Adam Driver, Danny Glover, Tilda Swinton, Chloë Sevigny, Selena Gomez, and I really could just keep on going—while the title […]
Evan Louison last wrote about Abel Ferrara for Filmmaker‘s 25th anniversary issue in his report, “Letter from Rome.” Given the assignment to interview Ferrara in conjunction with his month-long MoMA retrospective, Louison responded with a five-part personal memoir that tracks the impact of the director and his work on his own life. Check back each day this week for the next in the series, and read Part One and Part Two. III. Alive and WELL “The nature of evil is that it’s seductive. If evil presented itself to us as it really is… no one would be lured. No one […]
Three of current American independent cinema’s most prominent filmmakers recently came together at the Miami International Film Festival to impart some of the hard-earned knowledge they’ve acquired. Barry Jenkins (Moonlight, If Beale Street Could Talk), musician, activist, and storyteller Boots Riley (Sorry to Bother You), and journalist-turned-screenwriter Aaron Stewart-Ahn (Mandy) were honored at the festival as the first trio of guests to be part of the inaugural Knight Heroes masterclass and symposium. Ahead of their presentations in front of a crowded Olympia Theater in Downtown Miami, the three creators sat down with Filmmaker to discuss a wide range of topics: the […]