10 Great Recent Horror Films You’ve Probably Never Seen

There’s little question in the minds of critics and audiences alike that the horror revolution is in full swing. While the turn of the century saw many questioning the genre’s viability in film—and severely doubting if there were anymore unique horror stories left to be told—recent years have proven to be quite the spooky renaissance, as it were.

Showstoppers such as Fede Alvarez’s Don’t Breathe, the Krasinskis’ A Quiet Place, and Andy Muschietti’s It (2017) combine strong performances with compelling stories to present, question, and critique various supposed mainstays of the human experience.

Truly, there is quite a bit of fun to be had—and quite a few frights—within the worlds of these more contemporary works of terror and others like them. And amid so many great new works of horrific art, here are 10 strong, new additions you might’ve missed over the past few years.


10. Honeymoon


Two newlyweds’ vacationing for their honeymoon is a tale as old as time; the celebration of life, love, and happiness is a delightful consequence of saying, “I do.” But when Bea and Paul tie the knot, they aren’t exactly expecting the horrifying gift they soon receive.

Vacationing in a rustic Canada cabin, the young lovers are surrounded by forestry and virtually endless outdoor ambiance; besides each other, their only companions are the sounds of the expansive woodlands, the suspicious fluttering of enigmatic moths, and the malevolent intentions of an unseen force determined to prey on the unsuspecting couple.

Stylized with deep blacks and contrasting bursts of diluted, almost watery brightness, Honeymoon piles on suspense while keeping its greatest scares so close to the chest that when it finally tips the hand of its visceral horrors, audiences can’t help but feel at least a little cheated. Still, it is a spine-tingling story told with deftness and readily apparent artistic craft; and that, if nothing else, earns it a spot on this list.


9. mother!

A very original film often derided for its allegedly arcane metaphoric nature, mother! is a movie that sharply divided critics and moviegoers upon release. But how could the simple story of a woman who works to beautify her home while her husband basks in his presumed artistic abilities warrant such vehemently contradictory reactions—and such genuine horror from moviegoers?

While some claimed that the weightier themes—human tolerance for self-indulgence, the failure of mankind to recognize its boundaries, and the role of both these shortcomings in the contemporary question of climate change—provided a welcome return to the subjects that films really should be addressing, others felt that the oscillating narrative, ham-fisted analogies, and disturbingly gory third act prevented mother! from achieving its greatest heights. But on the strong wings of Jennifer Lawrence’s stirring performance, this movie nonetheless soars, effortlessly reclassifying into a category of art all its own.


8. Annihilation

Perhaps it is more fantasy science-fiction than horror, but Annihilation has no trouble serving up scares as it morphs from a simple information-retrieval mission into a truly terrifying reimagining of Darwinian evolutionary theory. Lena, a professor of cell biology, embarks on an expedition to locate her missing husband, who traveled into an ever-expanding iridescence engulfing the state of Maryland, an area cryptically termed “The Shimmer.”

Saddled with similar themes about the nature of humanity as those presented in mother!, Annihilation still manages to effectively forge its own literal and figurative paths to deliver a message about both the willingness to change and evolve and the fear that comes along with it—even when what is new and novel somehow manages only the subtlest of differences from that which presently exists. It is a film of strong performances and thoughtful themes, standing tall among the ranks of its dread-worthy brothers and sisters.


7. Ruin Me

That a quasi-satirical take on horror itself should be this effective and nuanced so long after the Scream franchise’s heyday is truly a sign of the genre’s upward mobility. At no point does Ruin Me feel like a cheap copy or set of clichéd ideas fished from a long-since-defunct recycling bin of yawn-inducing tropes. Rather, this tale of tenacious twenty-somethings who venture into the woods to partake in a slasher-themed camping trip offers up a surprisingly fresh take on blood-soaked mystery and fright-filled adventure.

But what really elevates Ruin Me is its handling of the sensitive subject matter of addiction—Alexandra’s boyfriend desperately wants her to “get better,” but only on his terms and only with himself at the helm of her alleged recovery. Everything is not what it seems as this film peels back the layers of its tortuous narrative, managing a climax that sidesteps exploitation to deliver a heartfelt, entertaining horror entry with a lot to say about how much power people should have to control our lives.


6. Creep 2

At first glance, fans of the original Creep may balk at this sequel’s purported foray into frightlessness; but those fearing such a startling shift can put their minds at ease—if there’s anything in which Creep 2 revels, it’s relentlessly spooky atmosphere.

The movie sees Sara, a videography student, seek out the reclusive Josef as a potential guest on “Encounters,” her YouTube passion project. Sara’s reluctance to believe Josef’s claims of serial murder, coupled with her towering belief in her own resourcefulness should the situation turn dire, leads her past the point at which most normal people would cut their losses and run for the hills.

Without spoiling Creep 2’s greatest twists and turns, it’s reasonable to say that such a shocking thriller will definitely leave audiences pinned at the edges of their seats. But perhaps even more moving is the film’s fascinating, juxtapositional commentary on the nature of human intelligence, the loneliness of intellectual novelty, and the heights to which unchecked self-confidence can ascend amid lofty expectations and the fear of failure.

Adding to the philosophical mix a more fleshed-out Josef than audiences saw in the first film and a stand-out set of special effects, Creep 2 makes its bloody mark and gives viewers plenty to love.

‘The Great Hack’: Why Cinema Needs a New Visual Language

‘The Great Hack’ is a thriller that takes us deep into the Internet’s heart of darkness.

If a documentary could make you look over your shoulder every time you browse online, The Great Hack is it.

Karim Amer and Jehane Noujaim’s thrilling doc, now streaming on Netflix, lays bare a fact that feels dystopian in nature: governments and large corporations across the world are currently tracking, harvesting, and selling your data in order to psychologically manipulate your behavior. The film centers around the case of Cambridge Analytica, a now-defunct British consulting firm which unethically scraped data from millions of Facebook users through seemingly innocuous viral personality quizzes, and used the information, in the form of targeting messaging, to influence the outcomes of Trump’s election and Brexit.

David Carroll, a professor at the New School, was among the first U.S. citizens to raise hell.

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Is the Greater Metaphor at the Heart of ‘Stranger Things’…Puberty?

“Stranger Things” is everyone’s favorite 80’s horror/sci-fi/adventure mash-up. But is it really just about puberty?

I love Stranger Things. It feels like an amazing amalgamation of all the things that made me who I am today. You have John Carpenter, Steven Spielberg, 80’s music, video games, and lots and lots of bike riding. When I watch the show I’m ten again. I’m with my best friends as we ride our bikes through the woods to get into West Chester, Pennsylvania. I’m tipping cows, stealing cigarettes, catching lightning bugs, and…

…growing hair in weird places?

What if I told you that the entire TV show Stranger Things wasn’t actually about government conspiracies and special powers, but it was actually about your voice cracking, body starting to smell, and that feeling you get when you stand next to someone you really like and dare to ask them to dance?

That’s right, we’re talking about puberty.

Check out this video from The Take and let’s talk after the jump.

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Why Michael Biehn Thinks ‘The Abyss’ Is James Cameron’s Biggest Disappointment

In a new interview, Michael Biehn says that Cameron was screwed by CGI and his imagination. Should The Abyss have won more awards?

It’s safe to say that James Cameron is one of the most influential filmmakers of all time. Cameron prides himself on being both a box office draw and an innovator when it comes to creating unique experiences when it comes to the big screen.

But could Cameron’s imagination have held him back from serious award contention early on?

Recently, The Hollywood Reporter sat down with James Cameron’s one-time go-to actor Michael Biehn to talk about The Terminator star’s lengthy career and he offered up what he believes to be Cameron’s only misstep in Hollywood.

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Zhiyun Tech teases a new Gimbal S

Zhiyun-Tech has teased a new gimbal S in the works that can support larger payloads but only weighs 888g (1.95lb). Unlike the LAB series, the Gimbal S looks to be more in line with the traditional one-handed designs. The video shows the Sony A7r III with the 24-70 f/2.8 G Master lens being balanced on … Continued

The post Zhiyun Tech teases a new Gimbal S appeared first on Newsshooter.

How to Edit Videos: A Step-by-Step Guide

How to Edit Videos: A Step-by-Step Guide

At some point in their careers, most filmmakers wonder about how to edit videos. Some might learn the ropes while at college or university. Others may teach themselves through videos or by navigating their editing software. But the bottom line is that figuring out how to edit videos is a skill that everyone can do regardless of their previous editing knowledge or budget to spend on editing software, as some options are completely free!

This piece features expert advice from Sterling Scott, Trailer Editor at Aspect Creative Marketing Agency, and Mark Hoffmeister, Trailer Editor at Big Picture Entertainment.

Here’s how to edit a video that any filmmaker would be proud to put out into the world for others to enjoy:

  1. Evaluate the material
  2. Select the right software
  3. Assess computer needs
  4. Bring in the footage
  5. Edit files
  6. Address sound
  7. Export and enjoy

Evaluate the Material

The editing process begins even before a filmmaker takes a seat in front of a computer. Why? Because every type of media must be approached in a different way. For instance, the style chosen for editing a horror feature will differ from that for editing a comedic digital series. And editing for those two mediums will differ as well from that for a television drama or experimental short.[1]

Even if a filmmaker decides to hire another person to edit their footage, it’s important to understand the different rhythms of various entertainment media, which will help to inform how the piece will eventually come together.

“I can get the same creative result from iMovie as I can from Avid system, but they definitely won’t work into the same workflow….Editing is like carpentry: I can make a straight cut with a hand saw or a circular saw (one is definitely faster). Knowing where to cut is where the profession kicks in.” — Sterling Scott, Trailer Editor

Select the Right Software

In learning how to edit videos, many filmmakers become devoted to one particular type of editing software. Editors, just like Directors of Photography or Sound Mixers, have preferences regarding the tools they like to use.

For someone just starting out as an Editor or a filmmaker wanting to gain editing skills, it’s essential to select an editing system that is easy to learn to mitigate the frustrations that naturally come up when picking up a new skill. For some, it might also mean first trying out free options, such as Blender, DaVinci Resolve or iMovie[2].

Mark Hoffmeister, Trailer Editor at Big Picture Entertainment, has this advice:

“For the ultra-beginner who has never touched any kind of editing, I suggest iMovie. It’s a good way to just cut clips together, set to music, to see what it feels like. Stepping up from that is Final Cut Pro X. It’s not great for professionals, but as with most Apple stuff, it’s pretty user-friendly. The best for someone who is serious about editing is Adobe Premiere. It’s quickly taking over in the professional field and can also be bought on a subscription basis so people can try it out and stop after a month if they don’t like it.”

Sterling Scott, Trailer Editor at Aspect Creative Marketing Agency, adds:

“Sounds like a copout but [the best beginning software is] whatever is most affordable! Being able to start is the most important thing. Once talking with your team, the best software will emerge. When learning, try a few demos for the software you can afford and get the less difficult. Software is specific to project or employer, based on needs. I can get the same creative result from iMovie as I can from the Avid system, but they definitely won’t work into the same workflow….Editing is like carpentry: I can make a straight cut with a hand saw or a circular saw (one is definitely faster). Knowing where to cut is where the profession kicks in.”

Assess Computer Needs

Hand in hand with choosing the right software is having a compatible computer that is up to the task. Storage space, in particular, will be important for editing more substantial projects such as a feature film, which will have footage in huge file sizes[3]. Once these pieces of the puzzle are in place, it’s time to actually get into the edit!

Bring in the Footage

Many Editors cannot stress enough how important organization is to the editing process, and both Scott and Hoffmeister agree. A piece of organizing advice from Scott:

“Group by scene. Subcategories — establishing, wide, close up and inserts. On first pass of watching material, always highlight your favorite takes. Not what you think others might like, but something that makes you viscerally react. Building around these moments is what makes the magic.”

Hoffmeister emphasizes just how critical an organization system is when editing videos:

“I cannot overstate how important organization is to an Editor. As projects get huge, you don’t want to spend all your time looking for the footage or sound that you need to edit with. Every Editor has their own method, but I tend to separate things into master folders like ‘MUSIC’ or ‘SFX’ (sound effects) and then put things into more specific sub-folders after that. Also, naming and labeling can help you quickly find things. For example, when you’re breaking out footage, start the name of a clip with what type of shot it is, such as ‘WS’ for wide shot or ‘CU’ for close-up. That way when you’re in need of something, you can easily search the whole project for certain tag words that you’re looking for. Basically, organization helps you increase your speed greatly, which leaves you more time to tool around with being creative.”

“Always keep in mind that whatever you’re editing, and by nature watching 1,000 times before the final product, the viewer is seeing that piece for the first time. So, getting a second set of eyes during the process from an unbiased viewer can be greatly beneficial.” — Mark Hoffmeister, Trailer Editor

Edit Files

As both Hoffmeister and Scott explain, a smooth editing process depends upon having all intended pieces in order. Once that’s done, a filmmaker can explore their creativity during the actual cutting and arranging of files.

It’s important to keep in mind that how to edit videos is likely not a single-session experience. Many Editors will cut together rather rough pieces and come back to it later not only to see if they still like the flow of the footage but also to clean it up and help along the timing of it.

Because a filmmaker is watching the same footage over and over again, they can become blind to certain quirks in the cuts that may be hindering the storytelling process. That’s why Hoffmeister recommends getting feedback from a trusted friend or colleague:

“Always keep in mind that whatever you’re editing, and by nature watching 1,000 times before the final product, the viewer is seeing that piece for the first time. So, getting a second set of eyes during the process from an unbiased viewer can be greatly beneficial.”

Address Sound

Is the picture locked? Meaning, is the filmmaker or editing team in agreement that no more changes will be made to the video clips that have been cut together? Great! But the editing process is far from over.

Next, it’s time to tackle sound. And while most people would probably agree that film and television are considered visual mediums, it’s crucial not to underestimate the impact of good — or bad — sound[4]. Says Hoffmeister:

“Audio tends to be the most important thing in what would seem to be a very visual field. Mistakes or unclean audio in an edit have way more of an effect on a viewer than what they’re watching. If the viewer misses a line or an important piece of story, they will be confused for the rest of the cut, but when the dialogue is clean and easy to track, the comprehension of your piece is much greater.”

As a filmmaker, it’s key to understand what to undertake without outside help and when to bring in another creative to help along the editing process. Sound is considered an entirely separate field of expertise — even the Oscars gives out separate awards for editing and sound design — so it might be in a filmmaker’s best interest to collaborate with another creative who has a background in this specific field, or at the very least have a sound consultant. Either way, at the heart of the editing process, though, is the desire to make an impact on the audience, as Scott so eloquently states:

“Creating an edit or cut is not your only tool. You are a creator of moments — use that to affect emotion. Instead of cutting from a wide to a closeup to capture a character’s reaction, let the wide push in and choose music that swells to a crescendo as the ticking of a clock in the background…. Barely audible at first, but then it comes careening to the forefront, warping out of tempo to push the emotion and enhance the shot. Create moments, not cuts. Be confident.”

Export and Enjoy

Outside of the editing and sound design process, attention may need to be given as well to color correction, opening and closing credits and any potential VFX needs. That being said, once the picture is locked and sound is added, it’s time to celebrate because the editing process is done! The next step is to export the file with the finished project. From there, where it goes and how it is enjoyed largely depends on the interests of the filmmaker.

For some people, the project might be meant to be enjoyed solely in the privacy of their home. But for many aspiring filmmakers, the goal is to see their edited film, short, television show or digital series put on a platform where others can enjoy their efforts.

Wherever that project is meant to live, it can’t be shared and enjoyed by anyone until it goes through the editing process. How to edit videos may seem to be a daunting task for someone new to the experience, but that’s exactly why it helps to break up the process into smaller steps such as those listed above to make it manageable and doable. And with many different editing software programs from which to choose, as well as tutorials on those systems that can be viewed through platforms such as YouTube, it’s never been easier to become a hyphenate of Writer-Editor, Director-Editor or even Writer-Director-Editor and add that all-important editing skill to a filmmaking resume.


  1. “How to Edit Video for Beginners: An Introduction.” BorrowLenses Blog. Retrieved 1 August 2019.
  2. Wells, Tom (31 July 2019). ”22 Best Free Video Editing Software Programs in 2019.” Oberlo. Retrieved 1 August 2019.
  3. “6 Best PCs for Video Editing in 2019 (31 May 2019).” The Tech Lounge. Retrieved 1 August 2019.
  4. “Top 5 Things to Know About Editing Audio (1 March 2016).” MotionElements. Retrieved 1 August 2019.

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Metabones introduces Speed Booster series for Blackmagic Pocket Cinema Camera

Lens mount adapter specialist Metabones has launched a new series of Speed Booster lens adapters especially designed for the Blackmagic Design Pocket Cinema Camera 4K (BMPCC4K). The new adapters allow users to mount Nikon G, Canon EF, Canon EF Cine and Arri PL lenses onto the Micro Four Thirds camera.

The company says it has redesigned the adapters to take account of the filter stack construction that Blackmagic uses on the sensor of this camera to ensure users get the same performance as other MFT users. Blackmagic uses a thinner layer of filters over the sensor of the BMPCC4K, compared to other MFT cameras, that can alter the effectiveness of the standard MFT adapter at wide apertures, the company claims. This means the new models aren’t compatible with other Micro Four Thirds cameras.

The adapters come in Ultra 0.71x and XL 0.64x versions, which reduce the crop factor in 4096 x 2160 4K video to 1.35x and 1.22x respectively. The Arri PL version will only be available as an Ultra 0.71x, but the other mounts can accept either adapter, with the company claiming that many EF-S and DX lenses from Canon and Nikon can also be used.
The Metabones Ultra 0.71x and XL 0.64x adapters are available now. For more information see the Metabones website.

Ultra 0.71x

  • Canon EF – $649
  • Canon EF Cine – $699
  • Nikon G – $489
  • Arri PL – $719

XL 0.64x

  • Canon EF – $649
  • Canon EF Cine – $699
  • Nikon G – $489

Press release:

Metabones Introduces a New Series of Speed Booster® for BMPCC 4K Camera

Caldwell Photographic Inc. and Metabones are pleased to announce a new series of Speed Booster for Blackmagic Design Pocket Cinema Camera 4K (BMPCC4K).

The BMPCC4K Speed Booster ULTRA 0.71x and XL 0.64x are similar to the standard m43 Speed Booster adapters, but the optics have been re-designed to optimize for the filter stack thickness of the Blackmagic cameras, which is substantially thinner than that of standard m43 cameras.

The thickness of the camera’s filter stack is an important component of the overall optical design, and the re-designed optics ensure that both versions can achieve the same high performance as the Speed Booster versions for standard m43. This is especially critical at the extremely large apertures made possible by Speed Booster technology.

In addition to the new optical designs, the new series of Speed Boosters also features a longer tripod mount to perfectly match the height of the BMPCC4K camera body. This way the camera and the Speed Booster can be mounted firmly on the same quick release plate.

Both versions – the Speed Booster ULTRA 0.71x and XL 0.64x – are available with Nikon G lens mount, with Canon EF lens mount and with Canon EF CINE lens mount. The ARRI PL lens mount is available in ULTRA 0.71x version only. The Canon EF CINE lens mount creates a positive lock for a secure electronic connection, and together with the matching length of new the tripod mount, allows for a rock-solid mechanical setup, which is important when using follow focus attachments.

This new series of Metabones Speed Booster adapters is designed exclusively for Blackmagic Design Pocket Cinema Camera 4K (BMPCC4K). They cannot be attached to any other m43 cameras such as JVC, Olympus or Panasonic cameras.

Metabones Speed Booster ULTRA 0.71x for BMPCC4K:
The new Speed Booster ULTRA 0.71x for BMPCC4K uses an advanced 6-element 4-group optical design incorporating ultra-high index tantalum-based optical glass. The new design is specifically optimized to bring the same level of astonishing performance as the ULTRA Speed Boosters for Micro Four Thirds to users of the Blackmagic Pocket Cinema Camera 4K.

In particular, the Speed Booster ULTRA 0.71x is optimized to correctly account for the BMPCC4K camera’s specific filter stack located near the sensor surface. This is especially critical at the extremely large apertures made possible by Speed Booster technology. As a result of this careful optimization, an enormous range of full-frame optics, ranging from vintage film lenses to the latest digital designs, will function flawlessly when adapted to BMPCC4K bodies.

The Speed Booster ULTRA 0.71x reduces the crop factor of the BMPCC4K camera as shown in the above table. The new design for BMPCC4K makes very effective use of exotic materials at the furthest limit of glassmaking technology, and as a result is almost perfectly corrected for use with all full-frame SLR lenses regardless of aperture or exit pupil distance. The Speed Booster ULTRA 0.71x will also work extremely well with many DX and APS-C format lenses, provided the image circle provided by the lens is large enough.

Optical performance of the new Speed Boosters is so good that the MTF of any lens attached to it will be improved. Even the latest generation of ultra-high performance SLR lenses such as the Zeiss Otus series can be improved by adding a Speed Booster ULTRA 0.71x.

MTF at 10, 20, and 40 lp/mm as a function of image height for output apertures of f/0.9, f/1.0, and f/2.0, respectively1. At the maximum aperture of f/0.90 (i.e., with an f/1.2 master lens) the sharpness and contrast are extraordinary across the entire image circle. At just one-third stop down to f/1.0 the performance is equal to or better than the best photographic lenses used at their optimum apertures. An additional stop down to f/2.0 yields performance that is rarely encountered in photographic optics. In practice, what all of this means is that the new Speed Boosters will always enhance and never degrade the performance of the attached master lens.

And other aspects of optical performance haven’t been sacrificed in order to obtain high MTF, either. There is less than 1 stop of corner illumination falloff even wide-open at f/0.9. There is no vignetting at all after the output aperture reaches f/2.82. Rectilinear distortion added by the Speed Booster ULTRA is negligible at less than 0.7%.

Metabones Speed Booster XL 0.64x for BMPCC4K:
Also this Speed Booster XL 0.64x adapter has been designed exclusively for the Blackmagic Pocket Cinema Camera 4K, with a magnification of 0.64x. The Speed Booster XL 0.64x uses an advanced 7-element optical design to achieve extraordinary optical performance at apertures up to an incredible f/0.80.

The new Speed Booster XL 0.64x reduces the full-frame crop factor of the BMPCC4K as shown in the table further above. In addition, the speed of any attached lens is increased by 11/3 stops, with a maximum output aperture of f/0.80 when an f/1.2 lens is used. For example, a 50mm f/1.2 becomes a 32mm f/0.80, which is the fastest aperture available for Blackmagic cameras.

Perhaps most exciting of all, in addition to increasing lens speed and field of view, the Speed Booster XL 0.64x offers amazingly high image quality even at extremely large apertures. Figures 1 through 3 below show MTF at 10, 20, and 40 lp/mm as a function of image height for output apertures of f/0.8, f/1.1, and f/1.81. At f/0.80 (i.e., with an f/1.2 master lens) the sharpness and contrast are extraordinary out to an image height of 5.1 mm, which is the limiting image height of the BMPCC4K camera’s FHD video mode. Beyond 5.1 mm the performance drops gracefully, but remains very good even in the extreme corner of the full Blackmagic sensor. Note that as the master lens aperture is reduced to f/1.8 and then f/2.8 (corresponding to output apertures of f/1.1 and f/1.8, respectively) the performance improves everywhere, especially in the extreme corners.

And other aspects of optical performance haven’t been sacrificed in order to obtain high MTF, either. There is only about 1 stop of corner illumination falloff even at f/0.8. There is no vignetting at all after the output aperture reaches f/3.42. Rectilinear distortion added by the Speed Booster XL 0.64x is negligible at less than 0.8%.

Just like the Metabones Speed Booster ULTRA 0.71x for BMPCC4K, the Speed Booster XL 0.64x is optimized to correctly account for the BMPCC4K camera’s specific filter stack located near the sensor surface. This is especially critical at the extremely large apertures made possible by Speed Booster technology. As a result of this careful optimization, an enormous range of full-frame optics, ranging from vintage film lenses to the latest digital designs, will function flawlessly when adapted to BMPCC4K bodies. In fact, most lenses will have significantly improved MTF when used with the Speed Booster, compared to using them with a plain (i.e. “glassless”) adapter on Blackmagic cameras.

Why That Thing You’re Dreaming of Won’t Make All the Difference

Why That Thing You're Dreaming of Won't Make All the Difference

We all have goals and aspirations — and I think that’s the only way for structured growth — but achieving these aims will often result in a false dawn.

[ Read More ]

10 years ago today, Nikon launched the S1000pj, a compact camera with a built-in projector

Let’s just pretend that DPReview watermark never happened…

Ten years ago today Nikon unveiled a handful of cameras including the CoolPix S1000pj, a compact camera with a built-in projector capable of projecting a 40-inch screen.

Who didn’t relive family camping trips on the glorious 40-inch screen the S1000pj was able to project on your family room’s wall (which just happens to be devoid of a television despite having a couch face the wall)?

Aside from the built-in projector, the S1000pj featured a 12.1-megapixel sensor, a 5x wide-angle Zoom-Nikkor lens (28-140mm full-frame equivalent), an ISO range of 64-6400, 5-way VR Image Stabilization System, Subject Tracking and a 2.7-inch wide-angle LCD display on the rear. Nikon’s MSRP was $429.95 when it was eventually released a month after its announcement in September 2009. Below is a video presentation from Nikon France showing the S1000pj in action:

The CoolPix S1000pj still has its own product page on B&H, but as you might suspect, it’s listed as ‘No Longer Available.’ It’s also one of the cameras we previously featured in our 2013 article titled ‘Ten one-of-a-kind cameras from the 21st century.’

Press release:

The world’s first compact camera to feature a built-in projector enhances the fun of sharing special moments anywhere

TOKYO — Nikon Corporation is pleased to announce the introduction of the COOLPIX S1000pj. Packing the pleasure of a personal go-anywhere theater into a stylish compact enclosure, the COOLPIX S1000pj delivers a fun new way to share pictures with friends and family in most any location.

The COOLPIX S1000pj is the first compact digital camera* in the world to feature a built-in projector. With a simple touch of a button, the camera projects favorite photos or movies clips on any flat surface at up to 40 inches in size. Pictures can be projected individually, or as slide shows complete with music and added effects that enhance the experience. It’s the fun new way to share pictures with family and friends in most any location.

This capability to project still images or movie clips gives birth to an entirely new form of communication as all participants visually share the passion of special moments together. For example, the COOLPIX S1000pj can be used to capture photos on a family vacation, and then serve double-duty as a personal theater in the evening as everyone enjoys viewing the highlights of the day projected on a wall or a ceiling. Whenever and just about wherever friends gather, the COOLPIX S1000pj’s projector can add whole new life to the party by displaying nostalgic pictures or freshly shot images for all to enjoy. Parents can even use the COOLPIX S1000pj to display photos of their own artworks or other images on the ceiling to complement bedtime stories they tell their children.

A handy projector stand is included, as is a remote control that can be used to operate the projector, release the shutter, and more.

Also featured are the precision optics of a 5x zoom NIKKOR lens that provides the compositional freedom of 28mm wide-angle coverage and macro shooting ability from as close as 3 cm (1.2 in.). This combines with the image quality and performance benefits of Nikon’s innovative EXPEED digital image-processing concept to help ensure consistently beautiful results produced at the high resolution of 12.1 effective megapixels.

The COOLPIX S1000pj will be available in Black or Warm Silver. (Color name and color availability may vary according to region.)

  • *Among digital cameras as of August 4, 2009 (according to research conducted by Nikon Corporation).
  • Note:Specifications, design, product name, standard accessories, and release schedule may differ by country or area.

Nikon COOLPIX S1000pj Feature Highlights

Sharper results with five advanced Nikon image stabilizing features*1

Nikon’s Optical lens shift and Electronic VR image stabilization systems combine to help produce blur-free images. High ISO 6400*2 capability allows faster shutter speeds when shooting in low light or capturing fast-moving subjects. Motion Detection automatically controls shutter speed and the ISO setting to compensate for subject movement and camera shake. And, Nikon’s original BSS (Best Shot Selector) function automatically shoots a series of sequential frames and saves the one with the sharpest focus.

  • *1The camera selects and uses only the features required to optimize each image.
  • *2ISO 3200 and 6400 are available only for image sizes of 3M (2048 x 1536) or smaller.

Nikon’s Smart Portrait System with Skin Softening

Face-priority AF helps produce more satisfying portraits by adjusting focus and exposure for as many as 12 faces in the framed shot. Skin Softening function detects and analyzes a framed subject’s skin, and then adjusts smoothness to produce enhanced results. Smile Timer automatically releases the shutter when the subject smiles, while its Blink Proof function shoots two sequential frames, then saves the one in which the subject’s eyes are widest open. Blink Warning presents an alert when it suspects that someone in the shot has blinked. In-Camera Red-Eye Fix automatically corrects any perceived red-eye effect before saving the image to memory.

Intelligent automated shooting modes that promote carefree shooting

Nikon’s Scene Auto Selector makes it faster and easier to capture the moment by eliminating the need to manually select a scene mode to match the intended shot. This intelligent function determines the subject, analyzes the surrounding settings, and then automatically selects the appropriate scene mode for optimal results. Subject Tracking enhances the shooting experience by following the subject’s movement to ensure clear focus and quick response when that special shutter opportunity presents itself. Subject Tracking even functions if the subject moves out of the frame for a second or two.

Quick Retouch

Quick Retouch automatically adjusts the contrast and saturation of selected photos to create an enhanced copy with the right finishing touch.

Nikon COOLPIX S1000pj Other Features

  • 2.7-in. high-resolution LCD monitor with anti-reflection coated cover
  • 16 handy scene modes for optimized shooting in various settings
  • D-Lighting
  • Active Zoom
  • Auto Sort and Favorite Pictures functions
  • Four movie modes with sound
  • Time zone function for easy setting of multiple locations
  • Approx. 36 MB of internal memory
  • Hi-Speed USB connectivity

In-Studio Macro Photography Tutorial

In-Studio Macro Photography Tutorial

Macro photography is the art/practice of photographing tiny things. If you have the spare cash, It’s easy to just go out and buy a macro lens to start shooting, but in order to get those crisp, back to front, pin-sharp images, a little bit of technical know-how and computer wizardry is essential.

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ARRI Digital Encoder Head DEH-1

The new Digital Encoder Head (DEH-1) is the latest edition to ARRI’s Camera Stabilizer System range. Specifically designed to operate ARRI’s remote-controlled Stabilized Remote Head (SRH-3), the DEH-1 is a head that interfaces with any Mitchell flat base tripod or support. Based on Cartoni’s technology, ARRI’s DEH-1 is the first digital encoder head that communicates […]

The post ARRI Digital Encoder Head DEH-1 appeared first on Below the Line.

5 Changes Adobe Needs to Make to Lightroom Before They Start Bleeding Customers

5 Changes Adobe Needs to Make to Lightroom Before They Start Bleeding Customers

While Adobe continues to spend its time and resources on useless features such as the texture slider and the fragmented Lightroom CC vs CC Classic, there remains to be an abundant amount of changes that users actually want to see.

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Here’s the One Thing Tarantino Hates About ‘Boogie Nights’

Quentin Tarantino’s unique nit-pick about Boogie Nights reveals a lot about his approach to story vs. Paul Thomas Anderson’s.

In a recent podcast interview for The Ringer, Tarantino disclosed what it is that irks him about PTA’s 70’s porn industry epic.

What is it?

Well, it boils down to a filmmaker named Gerard Damiano.

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How to Write a Chase Scene In Your Screenplay

Learning how to write a chase scene in a screenplay is imperative to keep the action moving, and the reader invested. So what are some tips?

Tell me if this has happened to you; you’re writing a scene, and the dialogue is popping. Everything feels like it’s clicking until the characters have to move. Sometimes I get frustrated by chase scenes. I know one character is after the other, almost gets them, but someone gets away.

Or maybe even snags them.

Every chase sequence might be different, but there’s a common thread to each: the reader.

When a reader looks at your car chase or foot chase, they need to be able to clearly understand what’s going on on the page.

Today we’re going to go over how to write a chase scene in a screenplay and some helpful tips and examples for each category.

So let’s run!

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‘Once Upon A Time In Hollywood’ Might Get a 4-Hour Cut on Netflix

There’s a rumor that a 4-hour cut of “Once Upon A Time In Hollywood” is headed to Netflix. Are you ready for more nostalgia?

We’ve been loving watching The Hateful Eight in installments on Netflix. The extended cut really helps within the episodic nature. And each episode break only allows tension to grow as you go. It’s a brand new interpretation of Tarantino’s eighth movie and has given me a deeper appreciation for what he’s trying to do inside the movie.

It has a Murder, She Wrote vibe with a lot more cursing and violence.

I loved seeing Once Upon A Time In Hollywood in theaters. It clocks in at almost three hours, but I felt like Tarantino was fully in control of each section of the film. Knowing that almost another hour and twenty hit the cutting room floor totally intrigues me.

We know James Marsden played Burt Reynolds and we never got to see him.

It’s hard not to theorize about the other gems we might have missed.

Well, Netflix might have a solution…

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Elinchrom launches ELM8 portable continuous LED light from Light & Motion

Elinchrom has launched its new ELM8, a continuous LED light that it claims is the ‘most portable, powerful and progressive modular system’ of its kind. The ELM8 was made in partnership with LED light manufacturer Light & Motion and is fully integrated with Elinchrom’s existing lighting system.

The ELM8 is battery-powered and compact, measuring 20.5 x 9.6 x 9.6cm (8 x 3.7 x 3.7in) and weighing only 1.2 kg (2.6 lbs). When fully charged, Elinchrom says the light can run for between 50 and 245 minutes (around 4 hours) before needing recharged, a process that takes two hours.

The ELM8’s specifications include:

  • CRI: 93
  • TLCI: 94
  • Color Temp: 5600 K
  • LUX: 16320 (at 1m w/Fresnel)
  • Light Output: 8000 Lumens
  • Native Beam Angle: 120°
  • Water Resistance: IP54
  • Impact Resistance: 1m (3.2ft)
  • Charge Time: 2hrs
  • Radio Control: Skyport Protocol
  • Distance Range: up to 100m
  • Skyport: 20 Frequencies / 4 Groups
  • Phottix: Phottix Odin II Transmitter

Elinchrom has a number of accessories that work with the ELM8, including multiple reflectors, diffusers, the company’s micro USB charger kit and a remote control. The ELM8 continuous LED light is available now for €1379 ($1699 USD).