Recently we wrote about photojournalist Avi Adelman who was arrested by DART (Dallas Area Rapid Transit) officer for taking photos of an incident. Today we can report that DART have voted to finalize the case this with a £345,000 settlement, after Adelman had filed a lawsuit following his arrest.
We’ve updated our guide to the best cameras for landscape photographers with a new overall winner: the Sony a7R IV. Take a look at the full shortlist for all of our picks.
The idea of meta-cinema is nothing new. It helps to create additional layers of commentary in the film and helps the directors expose universal truths regarding cinema. Clever filmmakers are using this brilliant and effective device for years and there is no hint of an end.
One example can be especially enlightening, although they belong to seemingly different genres and cater to distinct audiences: auteur Federico Fellini’s art house drama “8 1/2” and the superhero flick “Deadpool” are two examples. Whereas “8 1/2” is a clear meta-commentary of life and cinema, “Deadpool” is a self-aware superhero who frequently breaks the fourth wall. The filmmakers had enormous fun making these self-aware meta films, poking fun at the audiences.
There are two advantages in making this type of picture. While the blockbuster sensibilities can be intact and the filmmakers can earn a pretty dime, they can also highlight the world’s bitter, bleak condition and our ignorance of it. We have adjusted to this world’s travesties and have become powerless, idle voyeurs. The films mentioned in the list either criticizes their audiences angrily or casually jokes about them. Without further ado, here are 9 films that judge their audiences for watching.
1. Rear Window
Alfred Hitchcock had an exceptional macabre at making tense thrillers, and “Rear Window” is no exception. He never loses the grip of the plot and subverts the audience’s expectations to create amazing suspense throughout the film. But it is only what easily meets the eye: behind the straightforward thriller entertainer, there is a profound exclamation that can easily compete with Hitchcock’s most critically praised film “Vertigo.” The realization is not easy, but for the curious audience, there is ample commentary toward their voyeuristic nature.
It starts with nurse Stella’s conversation with wheelchair-ridden photographer Jeff: “We’ve become a race of Peeping Toms. What people ought to do is get outside their house and look in for a change.” Jeff’s temporary physical incapability has forced him to find entertainment in observing the fellow neighbours with binoculars, but the attack is directed toward us, the viewers, who are not so helpless but have found entertainment in the silver screen voyeurism by choice. It is a great rear projection, a glad advice of introspection from the master filmmaker. We have literally become “lonelyhearts” who have to be careful toward the negative sides of this habit; even Jeff faces danger as a side effect.
2. A Clockwork Orange
What has become of us? This is an important question that the maverick director Stanley Kubrick poses to the viewers who will enjoy his seminal piece of individual freedom. This is a clever contradiction that Kubrick intentionally posits; any viewer who is introduced to his eccentric methods of exposition will nod. On the other hand, he wants a massive audience to watch this picture to introspect on their suppressed violent nature; again, he doesn’t want them to enjoy this picture. “A Clockwork Orange” is a film of brain, more than heart.
His carefree protagonist Alex enjoys raping innocent people, and he doesn’t feel a single bit of remorse in it – not because he is a bad person, but because he simply doesn’t have the realization that this may hurt someone. Kubrick definitely wants us to turn our heads in disgust seeing what Alex is doing, not to enjoy the “Singin’ in the Rain” while severe on-screen violence is happening on screen.
Under pressure from government authorities to maintain stability in the society, Alex conforms in Plainview, but in private, he still has visions of orgy sex. Doesn’t that tell something to all of us who visit porn websites from the privacy of our homes? There is an underlying message of individual freedom in the end, but Kubrick will surely condemn us if we become like Alex.
3. The Cabin in the Woods
“The Cabin in the Woods” certainly knew its audience well. In his debut film, Drew Goddard builds upon and satirizes the age-old tropes of mainstream popular horror cinema and the effect is wonderful. While “Scream” had already dealt with the topic beforehand, “The Cabin in the Woods” is an overall better picture. But the popularity and influence of “Scream” is not to be underestimated; in fact, it has been featured later in the list.
“The Cabin in the Woods” has an innocent virgin, a sex maniac fool, an eccentric odd bunch – all the stereotypes of a cabin horror movie. The film establishes itself as a puzzle piece, later as science fiction, but the original inclination is toward satire or horror-comedy. Goddard evidently likes horror films but is tired with the done-to-death horror tropes. His love-hate relationship with the genre is clear with sustained perfection; he wants his audiences to become more elite so that better horror films come in the future.
4. Funny Games
Austrian provocateur Michael Haneke commented on the destructive capabilities of the mass media with “Funny Games” in 1997, which is a frightening psychological horror film, to say the least. The subject matter is similar to that of the horror master David Cronenberg and his body horror films, but “Funny Games” is more effective because of its extremely realistic and grim appeal.
This film once again tests the audience’s patience with its amplified dose of cinematic violence. The boundary of reality and fiction fade multiple times in the film. An important character named Paul frequently breaks the fourth wall. It is like a criticism to the audience members: how you people are not turning off this film?
“Funny Games” creates and sustains suspense using the expectations and vulnerabilities of the audience members. The idea was not to create a horror film according to Haneke himself, but the result rivals the best of any psychological horror film. The influence of media in us is terrifying.
Based upon an essay Haneke wrote on the subject of media violence titled “Violence + Media,” “Funny Games” unleashes violence on its viewers and assault their senses. An American remake was issued in 2007, again directed by Haneke, but it was a bit bland in its effect. In a good way, again, this Western cultural imperialism can be seen as a meta meta-commentary for the spectators.
During Inter BEE 2019, Grass Valley announced a new software update for its professional Windows-only editing software: EDIUS 9.51. This update includes support for Blackmagic RAW of the Pocket Cinema Camera 6K, native support for many new Apple Quicktime formats, and much more. Let’s take a closer look at it!
EDIUS 9.51 Codecs Update
The team at Grass Valley is moving fast to improve EDIUS – their Windows-only Non-Linear Editing software – regularly. Earlier this year, they introduced EDIUS version 9.40 that already featured numerous improvements.
At Inter BEE 2019, we talked with Alex from Grass Valley to discuss the new features in EDIUS 9.51. This new update improves the compatibility of the NLE with various new cameras and codecs. These new features include:
- EDIUS already supports the BMPCC 4K, but EDIUS 9.51 adds supports fort the Blackmagic RAW coming out of the Pocket Cinema Camera 6K and the Blackmagic Design Pocket 6K Film Gen 4 ISO color space.
- Support for Olympus Log color space, including OM-Log400 coming out of the OM-D E-M1X and OM-D E-M1 Mark II.
- You can now export in DNxHR 4444 MXF (Alpha channel). Also, you can now export in the following MOV video codecs: QTRLE, PNG, MJPEG, and JPEG 2000 as well as the audio codecs M4A (ACC, ALAC) and OGG (Vorbis).
- EDIUS already supports many Apple Quicktime formats natively. EDIUS 9.51 comes with additional native Quicktime import and export codecs, such as the Apple Quicktime Animation codec as well as the video import codecs JPEG 2000, PNG, and TIFF and the audio codecs HE-AAC, ALAC, ADPCM (IMA QT, IMA WAVE, MS), Opus and FLAC.
EDIUS 9.51 Hardware Update
On the hardware side, EDIUS 9.51 integrates the new Blackmagic Design SDK. In short, it means that it is now compatible with the latest Blackmagic capture cards (I/O solutions). If you use a Blackmagic Design capture card, which supports HDMI 2.0, the output image is automatically switched to the used color space.
For EDIUS Workgroup users, the EDIUS 9.51 update brings along 4K framerate of up to 100p, 119.88p, and 120p. In general, the direct hardware output of UHD 50p and upwards requires the EDIUS Workgroup version. Furthermore, with the DeckLink 8K, the display of 8K is possible via special EDIUS 8K turnkey systems.
If you are an AJA user, don’t worry, it is now possible to capture with the AJA KONA 5 and KONA 1 capture cards. The AJA KONA 5 allows a preview of up to 4K 30p in the EDIUS Pro version. In the Workgroup version, you can preview your project in up to 4K 60p and even up to 8K 60p with the 8K turnkey system. The AJA KONA 1 supports a preview of up to Full HD 60p in both Pro and Workgroup versions.
Price and Availability
The EDIUS 9.51 update is already available on EDIUS’s website. EDIUS 9 users get the update to version 9.51 free of charge.
What do you think of this EDIUS 9.51 update? Are you already an EDIUS user? Let us know in the comments down below!
The post EDIUS 9.51 Update – Enhanced Support for BMPCC 6K Available now appeared first on cinema5D.
Inspired by true events, “All Blood Runs Red” tells the story of Eugene Bullard, the first African-American fighting pilot.
Director: Paul Mignot
Cinematographer: Eric Dumont
Shot on: ZEISS Supreme Prime Radiance and RED Ranger
Learn more about ZEISS Supreme Prime Radiance: www.zeiss.com/cine/radiance
The a6100 is Sony’s newest entry-level APS-C mirrorless camera. As Chris and Jordan highlight in their review, it features some useful upgrades over to the [apparently immortal] a6000.
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- Design and handling
- Animal eye-AF
- Jpeg processing
- Burst shooting
- Kit lens
- Image quality
- Real-time tracking
- Auto ISO limitations
- Video capabilities
Sample gallery from this episode
Leica invited our team from DPReview TV to Germany to test drive the new Leica SL2 – and test drive they did. Check out these samples captured with a pre-production SL2 body.