REN FAIRE is SUCCESSION with Kettle Corn - The New York Times Their feud ascends to Shakespearian heights in this three-part docu-fantasia from director Lance Oppenheim, Elara & HBO. Streaming now on HBO Max. Production Company: Elara Pictures Director: Lance Oppenheim Cinematographer: Nate Hurtsellers Editors: Max Allman, Nicholas Nazmi Post Supervisor: Anthony Shabazz Colorist: Damien Van Der Cruyssen Senior DI Producer: Rachael Rosenfeld Color Assist: Sam Fischer Conform Artist/Editor: Michelle Perkowski VFX Artist: Chris Mackenzie Associate DI Producer: Nick Gammon DI Post Coordinators: Christopher Guzman, Zifeng Zhuo Imaging Scientists: CJ Julian, Matthew Tomlinson Supervising DI Producer: Peter Boychuk Executive Producer: Elizabeth Niles Head of Production: Kevin Vale Account Executive: Rochelle Brown Tech: Chloe Michael Bowman, Andrew Minogue, Jorge Piniella, Gino Volpe, Stefan Hueneke, Curtis K., Randy Main, Jerome Raim
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Thats what we like to see! Directors' engagement in post-production is key to ensuring the film's vision is realized. Guiding the edit, sound, and color to align with their creative intent. #PostProduction #FilmEditing #BehindTheScenes #FilmProduction
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Deadline reports: David Cronenberg Explores AI's Role in Film Industry: Fascination and Fear in 'The Shrouds' Interview According to an article on Deadline, filmmaker David Cronenberg expressed both fascination and apprehension regarding the role of artificial intelligence in the film industry. During an interview at the Cannes Film Festival, Cronenberg discussed his new film 'The Shrouds,' which explores the concept of connecting with the dead through AI technology. He acknowledged the advancements in computer-generated imagery and the potential benefits it brings to filmmaking. Cronenberg also raised concerns about the future of productions and actors, suggesting that screenwriters could become "prompters" for AI-generated movies. The director, who recently returned to filmmaking after his wife's death, shared his perspective on the intersection of technology and storytelling in the film industry. Read the original article here: https://lnkd.in/gt7AgMSb Made with the Link Report Chrome Extension www.LinkReportApp.com
‘The Shrouds’ David Cronenberg On AI’s Film Industry Impact: “The Whole Idea Of Productions And Actors Will Be Gone”
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AI Strategist for Film, TV & Creator Economy | LLM & Gen AI Workflow Innovator | Ex-FilmRise Head of Content
The AI generated feature film I collaborated on "Our T2 Remake" premieres online tomorrow! If you'd like to learn more about it or tune in, info below. If you're in film and TV, of course it's OKAY if AI is a concern or scary to you. But if you're like me, you start to see the opportunities once you commit to trying to understand the "new" and "scary". I think I've proven I know what opportunity looks like. 😉 #film #tv #ai #generativeai #technology #innovation
AI Strategist for Film, TV & Creator Economy | LLM & Gen AI Workflow Innovator | Ex-FilmRise Head of Content
You may have heard about this... "Our T2 Remake" is the first ever featured length film that primarily used Gen AI for the means of production. The film is a parody of Terminator 2: Judgment Day, the film that is so synonmous with our AI fears. But now we're flipping the script: AI is a tool for compelling creative work and community-building. 50 filmmakers came together and produced a scene each using various tools like RunwayML, PikaLabs, Deforum, and traditional post-production workflows like compositing with After Effects. I was part of it and made a scene! Executive Producers of the film are Nem Perez and Sway Molina. The film had a sold-out screening in LA at the Lanmark Nuart Theatre on Wednesday night to an enthusiastic audience. Today the film was mentioned in Forbes! Other contributors include: Steve Mills Abel Art Colin Byrne Ryan Phillips You can watch the film's online premiere TOMORROW Saturday March 9th at 12pm PST at AInfinite.TV's YouTube Channel via Livestream and the all the filmmakers will be there as part of a live-chat. https://lnkd.in/etQTa5Pg Don't miss it!
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Explore the world of body doubles in cinema with this insightful article from No Film School. It discusses the ethics, intricacies, and importance of body doubling in films. #FilmMaking #BodyDoubles #CinemaTrivia 🎥🎭🎬.
What Is a Body Double? (Definition and Examples)
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International Film Co Productions, Strategic Partnerships & Synergies / Multiple award winning Motion Pictures Professional. "Success is not final; failure is not fatal: It is the courage to continue that counts."
💯💢💥💫💥As Francis Ford Coppola Seeks ‘Megalopolis’ Distribution, ‘Everything Is on the Table’: Coppola’s most ambitious movie since “Apocalypse Now” screened last week and is now in talks with buyers. As Deadline first reported, the first “Megalopolis” screening was attended by the heads of every major distributor in town, including Tom Rothman, Ted Sarandos, Pam Abdy, Mary Parent, Matt Greenstein and David Greenbaum, Donna Langley, Courtenay Valenti, and Daria Cercek and Marc Weinstock. Major filmmakers and stars were also there including Sean Penn, Angelica Huston, Nicolas Cage, Cailee Spaeny, Joe Mantegna, Max Minghella, Al Pacino, Bill Kramer, Janet Yang, Cord Jefferson, Colleen Camp, Nat Wolff, Anthony Michael Hall, Vincent Spano, Lainie Kazan, Joanne Whalley, David O. Russell, Daniel Kwan, David Chase, Scott Cooper, Spike Jonze, James Gray, Darren Aronofsky, Jon Favreau, Gregory Nava, Roger Corman, Robert Zemeckis, Joe Kosinski, and Andy Garcia. After the March 28 friends, family, and industry screening for Francis Ford Coppola’s “Megalopolis” at Universal’s CityWalk AMC in IMAX, reactions were wild. Some said it was his most ambitious film since “Apocalypse Now;” another described it to Puck as “batshit crazy.” Made for $120 million and bankrolled entirely by Coppola through the sale of one of his vineyards, it incorporates new VFX techniques — ones, the filmmakers hope, will be seen on the biggest screens possible. For that to happen, it will need a major theatrical deal and the filmmakers are now in talks with distributors and major studios. However, those entities have been particularly risk averse these days — and while Coppola is a legend, he hasn’t made a commercial success in three decades. More at the following link: https://lnkd.in/gaW-Zaqq
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What is Virtual Production & How is it Revolutionizing Film
What is Virtual Production & How is it Revolutionizing Film
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I've always found it a bit disappointing how in many Hollywood movies, the credits roll and all you see are the names of the actors, directors, and other key players involved in making the film. While it's undoubtedly important to recognize their contributions, I can't help but agree with Julie Andrews and her sentiment expressed at the AFI Lifetime Achievement Awards last year. There should be more acknowledgment of the countless individuals behind the scenes who work tirelessly to bring these cinematic masterpieces to life. When you think about it, a movie is the culmination of the efforts of so many people - from the writers who craft the story, to the producers who secure funding and make crucial decisions, to the costume designers, set builders, and special effects teams who create the visual world we see on screen. The list goes on and on, encompassing editors, sound engineers, composers, and so many more. Each of these individuals pours their heart and soul into their respective roles, often laboring long hours under tight deadlines to ensure that every aspect of the film is just right. Yet, when the credits roll, their names are often relegated to a scrolling list at the end, easily overlooked as moviegoers make their way out of the theater. It's not just about recognition, though that's certainly important. It's also about acknowledging the collaborative nature of filmmaking and the fact that every person involved plays a vital role in the finished product. By only highlighting the names of the most prominent figures, we risk diminishing the contributions of those who work tirelessly behind the scenes. I believe that Hollywood should take a cue from other industries that celebrate their entire team's efforts. Just as a book includes an acknowledgments section where the author thanks everyone who helped bring their vision to life, so too should movies make an effort to recognize the many individuals who contribute to their success. Imagine if instead of just seeing the names of the actors and directors, we were treated to a montage showcasing the various departments and teams that worked on the film. We could see clips of the writers brainstorming ideas, the set designers bringing intricate worlds to life, and the editors painstakingly piecing together each scene. It would not only be a fitting tribute to their hard work but also provide audiences with a greater appreciation for the artistry and craftsmanship that goes into filmmaking. Of course, change is never easy, and there are logistical challenges to consider. But with advancements in technology and creative storytelling, there's no reason why Hollywood couldn't find a way to incorporate more comprehensive credits into their films. So here's to hoping that one day, Hollywood takes Julie Andrews wise words to heart and ensures that the names at the end of movies represent the collective efforts of all who contribute to bringing magic to the silver screen.
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BLUEPRINTS FOR NEW FILMMAKERS: BLOCKING The attached video is the switchboard scene of "The Marvelous Mrs. Maisel," during Season 2. You can see how tight a set can get sometimes. The cast and crew have to ensure their precise choreographed movements work in unison with one another. In this particular scene, you can see how close the camera can get to an actor's face. I know it looks intimidating but the best part is how all the talented actors stay in character even when the camera is not on them. The blocking here is fantastic. LET'S BREAK DOWN A SCENE LIKE THAT WITH ME. So, your script is ready for production. Your producer has everyone ready to go. You film scene after scene for weeks and then come upon a scene that truly is hard to get done and needs actual choreography by everyone on set. How would YOU go about it? Well... The first thing is the STORYBOARD, which is created to show your SHOT LIST. It would visualize how the scene would be shot. This is normally where your camera crew would come together to create the plan with the director, cinematographer (DP), and others. Then... It's the REHEARSALS. The Director and Actors read-through to understand the dialogue and emotional beats step by step. Some pros compare blocking to a stage play where actors have specific spots to be in. Here, the Director decides where everyone will stand, sit, move, and gesture. The Assistant Director (AD) tends to help coordinating this process. Next... Comes LIGHTING, to set the mood and tone. The DP and camera crew prep the Angles and Framing. While the SOUND TEAM position the microphones to capture clear and crisp Audio. Test walkthroughs and adjustments are made. This process could potentially be lengthy unless you have experienced professionals working with you. Following that... We have the TECHNICAL REHEARSAL where everyone rehearses with the cameras, but do NOT record. Now... The Filming starts with ACTION and the SCRIPT SUPERVISOR ensures CONTINUITY while the Director observes the performances. Most times... Multiple takes are captured and YOU, the Director, choses the one with the best performance(s). Lastly... Of course is the POST PRODUCTION but that's a class for another day. Hopefully, you have a better understanding if you are new to the industry. SIDENOTE: Many more people are involved to bring your story to life. The ones I mentioned are merely a few.
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What Is the 4:3 Aspect Ratio and How Is It Used? https://ift.tt/7EsjJQT From the dawn of cinema, Hollywood has debated aspect ratios. While it has changed with different projectors and types of film stock, the original aspect ratio has survived and is still used today. I'm talking about the 4:3 format. It was what they shot the first movies on, and what shook everyone up last year when they saw Zack Snyder's Justice League broadcast in the same ratio. Hollywood has been talking about aspect ratios since the very first film. People had to determine the size, project, and what parts of the story actually happened within the frame. Today we want to focus on just one. What does 4:3 aspect ratio mean? Why was it chosen, and why has it withstood the test of time? Let's dive in. What Is the 4:3 Aspect Ratio? The 4:3 image is one of the most indelible remnants of films from the past, but it also shows us where the future of cinema may go, thanks to IMAX and large-format cameras. It's fitting that where Hollywood began could also be a signifier of where it will go. What Is Aspect Ratio? The aspect ratio of an image describes its width and height. It's usually written as two numbers separated by a colon, as in 16:9. It can also be written with an “x” between the numbers, like 4x3. What Does 4:3 Mean? Let's talk history. Before the 24mm x 36mm "still" 35mm image, there was the 24mm x 18mm "cinema" 35mm image. Movie film runs vertically to be projected. Therefore, the traditional movie aspect ratio was 4 wide by 3 high. This means a frame four by three, or in the more technical 1.33:1. This square frame was the dimensions of early TV box sets and also the default size of the first 35mm celluloid film. Aspect Ratio History Aspect ratios have changed over time, depending on what people use to view media. As screens got bigger, the aspect ratio adjusted. As they got smaller, it continued to happen. Over 100 years ago, the very first films were projected in 4:3. The standard film strip was run through a projector and the light behind it threw the image onto a wall. The 4:3, or 1.33:1, was the literal measurement of the strip. When sound became standard, the extra space on the film stock required the aspect ratio to be adjusted to a slightly wider 1.37:1. This is known as the Academy Ratio, which is often represented as “4:3." Modern TV and Film Aspect Ratios TV boxes were 4:3 until widescreen televisions debuted in the 2000s. Many older programs had to convert their 4:3 shows to 16x9. But people who watched movies on TV rejoiced. The theatrical experience had finally come home. And as TVs grew in size, aspect ratios began to reflect the change. This led to the idea of pan and scan, where widescreen films were reformatted to fit 4x3 television sets. But widescreen TVs became all the rage in the early 2000s, and those smaller televisions disappeared. Older sitcoms had to be reformatted to show in 4x3, and TVs had to be able to c...
What Is the 4:3 Aspect Ratio and How Is It Used? https://ift.tt/7EsjJQT From the dawn of cinema, Hollywood has debated aspect ratios. While it has changed with different projectors and types of film stock, the original aspect ratio has survived and is still used today. I'm talking about the 4:3 format. It was what they shot the first movies on, and what shook everyone up last year when they...
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1moLance is a visionary! Will be watching at the earliest opportunity