Screenplays: Download Oscar Winners and More (Running List) UPDATED JAN 2020: If you want to be a screenwriter you need to read a lot of screenplays. And if you are going to read film scripts might as well read some of this year’s best. Below is an active running list of 2020 Oscar Contending Screenplays. I’ll…
Once Upon a Time In Hollywood fans? Get ready for more Rick Dalton and Cliff Booth, according to Quentin Tarantino.
Tarantino’s fanbase helped make Once Upon a Time In Hollywood one of the most celebrated films of last year. The adventures of has-been actor Rick Dalton and his spry stunt double Cliff Booth — with all-timer performances from stars Leonardo DiCaprio and Brad Pitt, respectively — helped net its writer-director another box office hit and major awards contender.
Tarantino made no secret that he shot a ton of footage for the 161-minute movie — and even wrote a few episodes of the film’s fictional Western series, Bounty Law — and audiences might get their chance to see those scenes in an epic cut of the film sooner rather than later.
Taking a page from his Hateful Eight expanded cut that hit Netflix in 2019, Tarantino (along with Pitt) revealed at Collider’s recent Special FYC screening at Arclight Hollywood in Los Angeles that a four-hour cut of the film could likely arrive in 2021.
Netflix reveals more behind-the-scenes secrets about the making of Martin Scorsese’s latest Oscar-contender, The Irishman.
The Irishman was one of the most talked about and anticipated movies of 2019. For good reason.
Director Martin Scorsese reunited with Robert De Niro — while the director worked with Al Pacino for the first time — to deliver an unprecedented crime drama that spanned decades and chronicled a real-life mob hitman’s rise and tragic plateau.
Fans and critics could not get enough of the Netflix release, with particular attention paid to Industrial Light & Magic’s technological advancements employed to de-age its main cast. Recently, Cinephilia & Beyond posted on Twitter a short (but very insightful) look behind the scenes about how a key scene in Goodfellas helped bring Scorsese’s new movie to life. Watch below:
What You Can Learn
Poll results: most important cameras of the decade
The end of a decade is a time for reflection, renewal and lots of ‘best of the decade’ articles. So why not join in the fun? ‘Time is a flat circle,’ after all (we can either thank Nietzsche or True Detective for that quote depending on who you ask). In that spirit, we shared our picks for the most important cameras of the past ten years and asked our readers to choose theirs. Here are the results of that poll.
Runner-up: Apple iPhone 4
The iPhone 4 technically came in third, but the margin between it and the second place runner-up was slim enough to call it a tie. It has certainly earned its place in history – we think it was the first iPhone that truly made a dedicated camera optional. DPR readers agree that it was a landmark camera of the 2010s.
Image credit: Gabriele Barni
Runner-up: Nikon D850
Over the past ten years we’ve been lucky enough to use many excellent cameras, but few have left a lasting impression like the D850. It’s well over two years old at this point but we still consider it one of the best DSLRs ever built. DPR readers no doubt also appreciate its well-rounded feature set, excellent ergonomics and Raw image capture that rivals medium-format results. If that’s not a best-of-the-decade-worthy camera then we don’t know what is.
Winner: Sony a7/R
So which camera did DPR readers crown the most important of the decade? The full-frame mirrorless cameras that started it all: the Sony a7 and a7R. Both cameras were far from perfect when they made their debut in 2013, but there’s no denying the influence that they’ve had on the industry as a whole since then.
And that’s a wrap on the decade! Thanks to all who voted – let’s do it all again in ten years.
So – You have recorded S-Log2 or S-Log3 on your Sony camera and at the same time recorded on an external ProRes Recorder such as an Atomos, Blackmagic or other ProRes recorder. But the pictures look different and they don’t grade in the same way. It’s a common problem. Often the external recording will look more contrasty and when you add a LUT the blacks and shadow areas come out very differently.
Video signals can be recorded using a several different data ranges. S-Log2 and S-Log3 signals are always Data Range. When you record in the camera the cameras adds information to the recording called metadata that tells your editing or grading software that the material is Data Range. This way the edit and grading software knows how to correctly handle the footage and how to apply any LUT’s.
However when you record to an external recorder the external recorder doesn’t have this extra metadata. So the recorder will record the Data Range signal that comes from the camera but it doesn’t add the metadata. The ProRes codec is normally used for Legal Range video and by default, unless there is metadata that says otherwise, edit and grading software will assume any ProRes recordings to be Legal Range.
So what happens is that your edit software takes the file, assumes it’s Legal Range and handles it as a Legal Range file when in fact the data in the file is Data Range. This results in the recording levels being transposed into incorrect levels for processing. So when you add a LUT it will look wrong, perhaps with very dark shadows or very bright over exposed looking highlights. It can also limit how much you can grade the footage.
What Can We Do About It?
You don’t need to do anything in Premiere for the internal .mp4 or MXF recordings. They are handled correctly but Premiere isn’t handling the ProRes files correctly.
My approach for this has always been to use the legacy fast color corrector filter to transform the input range to the required output range. If you apply the fast color corrector filter to a clip you can use the input and output level sliders to set the input and output range. In this case we need to set the output black level to CV16 (as that is legal range black) and we need to set output white to CV235 to match legal range white. If you do this you will then see that the external recording appears to have almost exactly the same values as the internal recording. However there is some non-linearity in the transform, it’s not quite perfect.
Now when you apply a LUT the picture and the levels are more or less what you would expect and almost identical to the internal recordings. I say almost because there is a slight hue shift. I don’t know where the hue shift comes from. In Resolve the internal and external recordings look pretty much identical and there is no hue shift. In Premiere they are not quite the same. The hue is slightly different and I don’t know why. My recommendation – use Resolve, it’s so much better for anything that needs any form of grading or color correction.
It’s very easy to tell Resolve to treat the clips as Data Range recordings. In the media bin, right click on the clip and under “clip attributes” change the input range from “auto” to “full”. If you don’t do this DaVinci Resolve will assume the ProRes file to be legal range and it will scale the clip incorrectly in the same way as Premiere does. But if you tell Resolve the clip is full range then it is handled correctly.
Why Does S-Log Recorded Internally Look Different To S-Log Recorded On An External Recorder? was first posted on January 5, 2020 at 11:40 am.
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