Look, let me start by saying Leonardo DiCaprio has done a lot to combat climate change.
He produced a climate change documentary titled Before the Flood that dropped in 2016. He has a foundation “dedicated to the long-term health and wellbeing of all Earth’s inhabitants.” The foundation has given $ 61 million to causes that align with that mission statement. He talks about climate change all the time. And, also, he was among the ~200,000 people in Washington, D.C. on Saturday to protest a White House that very much does not share his (scientifically valid) concern for the damage people are doing to the climate. Read more…
More about Markers, Sign, File Folder, March, and White House
Wireless transmitters aren’t just for lav mics, you know.
There are obvious benefits to the lavalier microphone/wireless transmitter combo: it’s easily hidden, it’s unobtrusive for subjects to wear, and produces pretty decent sound. But what if you hooked a boom mic up to a wireless transmitter? In this video from Indy Mogul, Knoptop talks about various advantages the wireless boom audio setup can have in different phases of a film project. Check it out below:
If you’re one of those “if it ain’t broke don’t fix it” kind of people, I’m right there with you. I’ve never once considered connecting a boom mic to a wireless transmitter, but Knoptop brings up some intriguing points in the video that piqued my interest.
For one, using this kind of set up will take out the moderately frustrating task of synching sound in post, because it records it directly into your camera. Second, your talent can feel free to move around, touch their shirt, etc. without worrying about causing any noise issues. The third and probably most obvious benefit is that not having to deal with any super long audio cables is pretty damn convenient.
No Film School
The next time someone tells you CGI doesn’t look real, show them this video.
Visual effects have come a long way since the early days of George Méliès and Ray Harryhausen. Artists, like those at Industrial Light and Magic who worked on Jurassic Park’s CG dinosaurs, have pushed the craft to its limit and advanced CG technology so much that they’ve been able to blur the line between reality and fantasy for all moviegoers. And though we often hear that VFX have a long way to go before they’re good enough to be truly believable, this video by Roy Peker reveals just how good visual effects artists have become at using compositing to hide CG elements in plain sight.
No Film School
ARRI dominates the list of cameras chosen to shoot Sundance 2017 movies.
It seems that Sundance filmmakers are quite fond of ARRI. When we analyzed data (via the Sundance Institute and Canon) from 225 films that premiered at Sundance this year, we found that most filmmakers had shot with an Alexa or Amira. Canon cameras were the second most popular choice, followed by Sony and RED. Only one filmmaker shot with a Bolex, one with an iPhone, and one with an Aaton.
As for lenses, Cooke, Zeiss, and Canon were preferred by Sundance filmmakers. Anamorphics and primes were all the rage this year.
The award for “Most Gear Used” goes to Netflix’s sci-fi The Discovery, which employed multiple ARRIs, a GoPro Hero, and 16mm, 28mm, 35mm, 45mm, 55mm, 80mm, 110mm, wide, and zoom lenses in its camera package.
No Film School
This year’s nominees will be announced Jan. 24 by Academy members such as Jennifer Hudson and Brie Larson.