A Look Inside the ‘Avengers: Endgame’ Editorial Army and Their Workflow

From the very beginning, editors, pre-viz creators, and others were tasked with ironing out complicated workflows.

Taking in nearly $3 billion in worldwide box office, there’s no denying that the final chapter of Marvel’s Infinity War saga has secured its place in cinematic history. Avengers: Endgame was also one of the most complicated films to bring to the screen, so much so that when directors Anthony Russo and Joseph Russo started on their cinematic journey with the climactic two films, they made sure to bring in a veritable army of post-production personnel to keep the complicated workflow on track.

In an interview with Avengers: Endgame editor Jeffrey Ford, Frame.io blogger Alexander Huls got down to the brass tacks of what was required to keep the MCU on track to move towards a meaningful conclusion, rather than becoming a speeding freight train heading towards a cliff. And for Ford, it was the intimate involvement of post-production artists like himself and Third Floor pre-viz artist Gerardo Ramirez, that helped make it all a reality.

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How ‘Code 8’ Went From Crowdfunding to Theatrical Distribution

After a successful crowdsourcing campaign, Vertical Entertainment has acquired the Amell brothers’ Code 8 and will distribute it theatrically.

Ever wanted to get your passion project off the ground but had no idea how to do it? The Amell brothers know how you feel. They had a script they loved, a director they believed in, and could provide their own package. But didn’t have the bites. That’s why these stars turned to crowd-sourcing.

They knew the audience was there, they just had to speak to them.

The Amells launched an Indiegogo for their movie, Code 8. They had some cool giveaways, shot glasses, mugs, tickets to hang out with them at the premiere…and tee shirts. They also had a professional short film that was slick, explained their premise, and gave us a real taste of the world.

They sought an initial $200,000, but word of mouth and fervor for the project allowed them to end up raising $2.4 million with more than 27,000 backers. Along with backing online, the team toured America and hosted supporter screenings throughout this past spring where they did a red carpet and met with fans.

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Get Paid By Universal For a Year to Write Two Feature Films (Oct 1st, 2019 Deadline)

Universal Opens Submissions for 2020 Writers Program, so get going!

Winning a paid writing gig from Universal Studios could set your career on fire. So get those personal essays going and get ready to apply to the Universal Writer’s Program. Winners of this grant are paid for a year to write two feature films under the Universal banner.

You also get mentors and a window into the industry and how things work.

This is a great opportunity for anyone who wants to see their name on the screen and has had trouble breaking in.

From Universal’s site:

“The Universal Writers Program identifies up-and-coming and experienced screenwriters with unique points of view that build upon the Studio’s commitment to telling stories and creating films that reflect the vast diversity of our audiences. The only feature film program sanctioned by the Writers Guild of America West (WGAW), the Program develops storytellers who organically incorporate multicultural and global perspectives in screenwriting.

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TIFF 2019, Day 2: I Was at Home, But…, Zombi Child, First Love

As Giovanni Marchini Camia notes in this valuable, context-providing review/interview of I Was at Home, But…,  Angela Schanelec’s fourth feature, 2001’s Passing Summer, was the first to give rise (in a Die Zeit review) to the term “Berlin School,” an imprecise but generally accepted designation for contemporaries including Christian Petzold, Maren Ade, Ulrich Köhler, Christoph Hochhäusler, Thomas Arslan et al. As Camia also notes, Schanelec’s relationship to this term is tense; her work is the most overtly severe, and it’s taken her longer to break through than her highest-profile peers. Internationally, Schanelec didn’t receive significant recognition until her ninth feature, 2016’s The Dreamed Path, until […]

Five Tips to Help You Take Better Photographs of Jewelry

Five Tips to Help You Take Better Photographs of Jewelry

Whether you love watches, rings, or everything in between, as a photographer, you’re going to want to take a picture of them at some point. What might seem straightforward can actually prove rather tricky.

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A Comprehensive Intro to Darktable: A Free Lightroom Alternative

Anthony Morganti of IAmMrPhotographer.com recently teamed up with photographer and fellow YouTuber Rico Richardson to produce a comprehensive introduction to the popular (and free) Lightroom alternative Darktable. If you’ve been wanting to try this open source RAW editor but don’t know where to start, this video is for you.

Richardson is an expert in Darktable who’s created many a tutorial for the RAW processing software over on his own channel. This 10 minute tutorial is a bit more broad than all that: a beginner’s guide that starts by showing you how to download the software off the Darktable website, moves into a detailed walkthrough of the user interface and available tools, and finishes off with a quick demonstration of Darktable’s powerful masking features in action.

If you already have Darktable downloaded, skip to the 3:58 mark to jump right into the UI; and if you already understand the import settings in the Lighttable tab, you can skip straight to the tools overview and editing demonstration around 7:20.

If you’ve never used Darktable before, the layout will seem very similar to Adobe Lightroom. However, once you start digging into all the modules, you’ll probably be surprised by how comprehensive this free program really is. Especially when it comes to masking in local adjustments, Darktable offers a level of control you won’t find in Lightroom.

Of course, it’s not all upside. As with any open-source software, support for the latest cameras and RAW formats might take a bit longer to arrive. Additionally, much like open-source Photoshop alternative GIMP, the sheer number of features can get confusing. But that’s what YouTube tutorials are for.

If you’re looking for a free alternative to Lightroom, Darktable is one of the most popular and powerful options out there (RawTherapee is another good one). Hopefully the video above will help you get a better grasp of the Darktable UI so you can see why so many ex-Adobe users love this open-source alternative.

(via Reddit)

PNY unveils two ultra-compact portable SSDs and MOBEE mobile gimbal

Flash storage and accessories company PNY has introduced the MOBEE gimbal 3-axis stabilizer for smartphones, as well as its new Elite Portable SSD and PRO Elite SSD.

Despite PNY’s claimes, they’re not the fastest portable SSDs on the market, but the new PNY models make up for their slightly slower speeds by offering very compact sizes. The Elite Portable SSD model measures 6 x 3.6 x 0.9cm (2.3 x 1.4 x 0.3in) and the PRO Elite is slightly larger at 13.3 x 10.2 x 5.7cm (5.2 x 4 x 2.2in).

The PNY Elite model is offered in 240GB and 480GB capacities with up to 430MB/s read and 400MB/s write speeds. The PRO Elite model is offered in 250GB, 500GB, and 1TB capacities with up to 890MB/s write and 900MB/s read speeds. The Elite Portable SSD 450GB costs $125 USD; the PRO Elite model ranges from $70 USD to $162 USD.

The new PNY MOBEE gimbal, meanwhile, is compact at 10.8 x 28.9 x 7cm (4.2 x 11.3 x 2.7in) with a weight of 1.4kg (3lbs). The 3-axis stabilizer features a rechargeable Li-ion battery offering up to 12 hours of operation per charge, as well as a USB port for charging a smartphone while shooting.

A companion mobile app offers access to different shooting modes, including object and face tracking, slow motion and time-lapse. The gimbal is only listed on Amazon.uk at this time with a price of £87.13 ($107.14 USD).

Spiffy Gear launches Lumee wearable cinematic bi-color, RGB LED light strips

Spiffy Gear has launched a new wearable LED light called Lumee that features a ‘slap bracelet’ design with magnets for attaching it to metal surfaces. The light is splash-proof, rechargeable, and offered in two varieties: an RGB model and a CRI 95, 2700-6500K bi-color model. Both are described as cine-grade with run times of up to 1 hour at full power and up to 4 hours at low power.

The Lumee lights from Spiffy Gear can ‘snap’ onto poles, straps, wrists, and other similar places like an old school snap bracelet. As well, the light is shipped with magnetic mounting discs for attaching the light to other surfaces. In addition to running off battery power, Lumee can be used while it is running off an external battery or charger.

The RGB version of Lumee offers five light effects: Police Fire, TV, Fireworks and Breathing. The bi-color version of Lumee also offers light effects, though they’re different due to the absence of colored LEDs: Explosion, Candle, Breathing, Stroboscopic and Red Carpet.

Both versions of Lumee are available from Spiffy Gear now for $45 USD.

BTS of John Wick 3: Bike Fight Scene

BTS of John Wick 3: Bike Fight Scene

Every well-known movie has specific scenes it is famous for. This is the case with the bike fight scene in John Wick: Chapter 3 Parabellum, where we take a glimpse behind the scenes to see how the production team made that action choreography.

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4 Filmmaking Tips from ‘It’ Director Andy Muschietti

Andy Muschietti is living the dream, directing Stephen King adaptations and scaring audiences. So what are his tips for you?

The horror genre is not only about scares; it’s about humanity. So what does one of the best horror directors in the game, Andy Muschietti, have to say about directing in general? The sequel to It jusr hit theaters, so we thought it was a good time to steep ourselves in some directing tips from the guy who brought Pennywise back to life for a brand new generation.

Check out this video from The Director’s Cut and let’s chat after the jump!

4 Filmmaking Tips from It Director Andy Muschietti

Directing is one of the hardest jobs out there. You have to be the mayor of your set. Know the names, the daily goals, and still find time to plan and extract the best performances from anyone and everyone.

So how does Andy Muschietti do it?

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Lessons from a Steadicam OG: Make Your Shots Flow Like Music

One of the first Steadicam operators ever teaches you how to move your camera like a pro.

Dan Kneece has nearly 40 years of experience using Steadicams, and not only did he learn how to do it from the creator Garrett Brown himself but he’s one of the first camera operators to do so.

Suffice it to say that the guy knows camera movement.

In this video, Ted Sim of Indy Mogul chats with Kneece about what it takes to move your camera like a pro and what kinds of techniques you need to employ in order to tell visual stories using camera movement. Check it out below:

Learn From the Masters

The original Steadicam creator, Garrett Brown, taught Kneece how to use one, so it makes sense why he says that if you want to learn how to do something in filmmaking, learn from the masters. However, not everybody has that kind of access to masters of filmmaking…I mean, that’d be amazing, but it’s just not realistic.

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IFH 343: The Dark Underbelly of Predatory Film Distributors – BEWARE!

The Dark Underbelly of Predatory Film Distributors – BEWARE! I’m pissed off guys. I’m tired of getting emails, messages, and calls from filmmakers who have been or are going to get taken advantage of by a traditional film distributor. THIS NEEDS TO STOP! So many filmmakers have been taken advantage of by predatory film distributors…

The post IFH 343: The Dark Underbelly of Predatory Film Distributors – BEWARE! appeared first on Indie Film Hustle®.

Behind the Scenes on a Budget Shower Shoot

Behind the Scenes on a Budget Shower Shoot

Photography is about telling a story. Sometimes you are easily able to get a location that helps tell that story, other times you have to improvise. If you are looking to shoot a model in a shower, but don’t have access to one large enough for a photo shoot with your lighting gear, there are options to reproduce a shower scene.

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Canon is Developing a Mirrorless-to-DSLR ‘Converter’: Report

One of Japan’s largest newspapers has published a report that contains two very interesting tidbits for Canon mirrorless shooters. First, they claim that Canon will release a 1D X-level EOS R in 2021; and second, the report revealed that Canon is working on some sort of ‘converter’ that can turn a mirrorless camera into a DSLR.

The report was published in Nikkan Kogyo Shimbun, and it seems to confirm rumors that Canon is preparing a high-end EOS R camera that could compete with Sony’s a9 and might replace Canon’s own 1D X flagship. Previous rumors seemed to indicate that this camera would arrive earlier than 2021; however, with the 2020 Olympics and a follow-up to the Canon 1D X Mark II almost certainly in the wings, it makes sense that Canon wouldn’t release this camera until after the Olympics.

That said, the report did claim that a prototype is already in existence, and confirmed that it would be “classified into the same ‘professional model’ as the EOS-1D X Mark II.”

The second part of the report revealed something a bit more… strange. It seems Canon is working on some sort of converter that can transform a mirrorless camera into a DSLR. In a sentence buried at the end of the short report, the article reads:

We are also developing a converter that can join a mirrorless camera to an interchangeable lens for a single lens reflex camera.

This could be describing a standard EF adapter, but those already exist. As Canon Rumors points out, Canon actually filed a patent back in January of 2018 that shows a mirror-box/mount/OVF attachment could click onto a digital back of sorts. The rudimentary patent may be what is being described in the report.

Is this how Canon intends to eventually “get rid of” their DSLR lineup without totally abandoning that user base? Only time will tell, but the modular approach isn’t entirely out of character for Canon. They just released the semi-modular C500 Mark II yesterday, who says they couldn’t do the same thing with their stills cameras?

Five Simple Tips for Cityscape Photography

Five Simple Tips for Cityscape Photography

Shooting cityscapes is something many people never get tired of. The urban jungle is an ever-changing landscape that never ceases to amaze many people with its often grandiose theme and bright, distinct, and often colorful details.

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Jack of All Trades: 5 Reasons Why You Should Own a 24-105mm Lens

Landscape photographer Mads Peter Iversen swears by his 24-105mm f/4 lenses. While many landscape shooters prefer ultra-wide angle lenses in the 14-24mm range, or will opt for a 24-70mm mid-range zoom, Iversen believes a 24-105 is the better choice. In the video above, he explains why.

The advice Iversen gives is focused primarily on landscape photography, but the overarching point applies to almost anybody: this lens is a jack of all trades. He argues that a 24-105mm lens offers a compositional versatility that more than makes up for the stop of light you sacrifice over the “holy trinity” f/2.8 zooms many photographers favor.

In the video, he focuses on the 24-105mm focal lengths available from Canon, Sigma and Sony; however, one point he fails to mention is that Nikon shooters have it even better, since Nikon makes a 24-120mm f/4 that goes even further than the 24-105mm focal range Iversen considers essential.

In all, he gives five reasons why he believes a 24-105mm f/4 lens is a must-own:

  1. It’s a jack of all trades – 24-105 is an incredibly versatile zoom range, making this a perfect “walk-around” lens in just about any situation.
  2. Less foreground, more background – Ultra-wide angle lenses can capture dramatic foregrounds, but they often sacrifice the background. The 24-105 is wide enough to include the foreground without making the background look tiny.
  3. It looks “real” – The ultra-wide angle lenses favored by many landscape photographers can distort scenes and make them look “unnatural” compared to human vision. Not an issue with a 24-105, which covers the “normal” 50mm focal length.
  4. You can still go wider than 24mm: For landscape photographers in particular, you can still get a wider perspective than 24mm without sacrificing quality by stitching together a panorama.
  5. Image stabilization – Most of the 24-105mm lenses out there are optically stabilized, which can be a life-saver when you’re forced to capture images hand-held.

Iversen ends the video by discussing the advantages of a 24-105 over the popular 24-70mm lenses that are out there. The obvious difference is the full stop of light you lose between an f/4 lens and the faster f/2.8 apertures available in the mid-range zooms, but for landscape photographers in particular, this is negligible since you’ll be shooting most of your photos at f/5.6 and above.

Taking it a step further, even portrait shooters can still get a reasonably shallow depth of field from f/4 when shooting all the way out at 105mm, as compared to the same frame shot at 70mm and f/2.8.

Of course, any lens choice ultimately comes down to your and what you need. The extra stop of light is actually indispensable for some types of photography (see: events and concerts). But for the majority of photographers out there, we tend to agree with Iversen: the 24-105mm lens is the better option.

The fact that these lenses tend to be cheaper than their 24-70mm and 14-24mm f/2.8 brethren is just a nice bonus.

How I Shot This Self Portrait With Natural Light

How I Shot This Self Portrait With Natural Light

Most of my portraiture work is known for two things, lots of color and using strobes. I love self portraits to try out new techniques; it’s actually how I got myself started in photography, so for this self portrait I wanted to go in a totally different direction and take a shot with natural light and push it as far as I could.

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Alleged roadmap leaks 10 new Nikkor Z lenses set for 2020, 2021 release

The allegedly leaked roadmap shows off ten new lenses not officially announced by Nikon.

Nikon has already detailed a number of new Nikkor Z lenses it’s working on, but a newly leaked image, believed to be a more extensive lens roadmap, shows a number of additional lenses Nikon allegedly has planned for the future.

The purported roadmap, first shared by Nikon Rumors, shows ten additional lenses not currently shown in the roadmap image Nikon has posted to its website, ranging from fast primes to impressive telephoto zoom lenses.

Nikon’s current official lens roadmap as of posting this article.

According to the roadmap, which again hasn’t been confirmed as real, the 2020 lenses Nikon hasn’t detailed on its current roadmap include the Nikkor Z 85mm F1.2 S, Nikkor Z 135mm F1.8 S, Nikkor Z 28-700mm F2.8-3.5 and Nikkor Z 24-120 F4 S. The 2020 lenses already announced include the 20mm F1.8 S, 50mm F1.2 S and 14-24mm F2.8 S.

Moving onto 2021, Nikon has seven lenses listed as ‘TBA’ on its current roadmap. Interestingly, the purported leaked roadmap mentions only six, including the Nikkor Z 28mm F1.8 S, Nikkor Z 35mm F1.2 S, Nikkor Z 65mm F1.8 S and Nikkor Z 105mm F1.8 S.

If the roadmap is indeed real, it seems Nikon is covering a lot of ground with an impressive range of lenses. Interestingly, there doesn’t appear to be any F1.4 lenses, with Nikon instead opting for either F1.8 or F1.2 for its faster primes.

Ultimately, time will tell whether or not the roadmap is indeed real.