Hollywood bosses gloat over exorbitant movie profits while visual-effects makers subsist on cheap instant noodles, in the latest, tart comment on the state of the visual-effects business from the mordant-loaded brush of artist Jesse Mesa Toves, whose robust revival of the editorial cartoon delivers its satirical punch with dramatic visual storytelling.
“Eleven billion polygons? I can’t count that high,” says a boss, standing over a harried visual-effects artist, who is eating at his workstation, trying to slurp up a cup of instant noodles. In the foreground, a chart shows projected boxoffice for 2014 rocketing past eleven billion dollars, to twelve. “Wait. Actually I think I can.” Toves adds: “Congratulations Hollywood, that $12-billion year looks like a given … ?”
BY MARTIN LEDUC. TORONTO, CANADA (CINEMA MINIMA) — I got to help collect some of the videos that were playing throughout the Open Video Conference. The conference took place on June 19-20, 2009. It brought together an impressive collection of professional stakeholders involved with online video. Their aim was to bring video technology up to the standards of accessibility and decentralization that are currently available for blogs and other web tools.
For the video displays that were playing throughout the conference, I collected 10 technically and artistically accomplished movie remixes that showcase the value of an open video environment. The artists I chose take a wide range of approaches to editing pre-existing movie footage.
Blogger, video remixer, and cultural activist Elisa Kreisinger also curated remix videos that demonstrate the political importance of fair use and open video standards.
You can visit www.totalrecut.com/openvideo to watch online versions of all the videos Elisa and I screened at the conference.
The current trend in motion-picture color correction, observes visual-effects artist Stu Maschwitz, is uncompromising preservation of “correct” skin tones.
As filmmakers’ sensibilities became influenced by the possibilities of the digital intermediate (DI) — popularized by colorist Stefan Sonnenfeld‘s work on Bad Boys II and that of Jet Omoshebi on Underworld — more “pushed” looks became commonplace. Aggressive color correction is more likely to render skin tones in an unflattering way, so a colorist’s capability has been judged by the skill to hold pleasing skin tones through severe corrections.
Maschwitz’s article is illustrated by examples from THE INCREDIBLE HULK and LIVE FREE OR DIE HARD. He offers specific recommendations for primary and secondary color correction, taken from his book, The DV Rebel’s Guide: An All-Digital Approach to Making Killer Action Movies on the Cheap. [Prolost]
Technorati Tags: Technorati/filmmaking, Technorati/indiefilmcafe
This video talks about exporting your podcast into compressed formats that are ready for download. This video touches on multiple different file formats that your video can be exported too. The export procedures are gone through using Apple’s iMovie HD application. [Digital Producer -- Home Splash]
The 7th Annual NAB Final Cut Pro User Group SuperMeet will convene in Las Vegas, Nevada USA 2008 April 16 18:30-22:30 at the MGM Grand Hotel, during the NAB Show. The SuperMeet is the annual event of the Final Cut Pro User Group Network, which includes user groups in Boston, Chicago, Los Angeles, and San Francisco. Final Cut is a Non-Linear Editing (NLE) application for editing motion pictures, including features, using Apple computers.
The NAB Show takes place 2008 April 11-17 in Las Vegas. The show is put on by the American National Association of Broadcasters. On Monday April 14, Tim Robbins will deliver the NAB show’s keynote speech. The actor-director-producer will look at the changing face of entertainment, and how new distribution and content-creation opportunities will affect Hollywood. [Apple]