Art and Craft follows prolific art forger Mark Landis just at the moment his elaborate 30-year con is exposed. What follows is a guest blog by filmmakers Sam Cullman, Jennifer Grausman and Mark Becker about a central consideration in making this film. Art and Craft is in the final days of a Kickstarter campaign to raise finishing funds, including monies needed to mix the score they write about here. When we first read The New York Times story about Mark Landis in 2011, we were immediately intrigued — what kind of art forger donates his work to museums instead of […]
Final Cut Pro X (FCP X) was announced in April of 2011 and released in June of the same year. In the nearly three years since its release I have slowly increased the amount of work I do with it. As of this writing I am in the early stages of editing a feature-length documentary using Final Cut Pro X. I agree with the post-production masses that say Apple should have handled the launch of FCP X much better than it did. I could go on and on about what I wish they would have done differently. I won’t. That […]
For a second time, Google is attempting to pitch a compression format as the replacement for an H.26X compressor. They tried to do it three years ago for HD video when they pitched VP8 as a replacement for H.264 and had little success. Now they’re back with a new angle: VP9 is the format for 4K, and they are putting it up against H.265, the new 4K compressor that is also referred to as HEVC (High Efficiency Video Coding). Should you care? Compression codecs can be fascinating, frustrating and their naming confusing. For example, everyone’s heard of H.264 and AVCHD, […]
Legendary film editor, sound designer, writer, translator, amateur astronomer and director Walter Murch needs no introduction. (Oh, what the hell, his credits include The Conversation, Apocalypse Now, The Talented Mr. Ripley, Tetro and more.) In addition to being a great filmmaker, he’s also a great teacher and talker about film. Here, at the 2013 Sheffield Doc Fest, where he accompanied the doc, Particle Fever, he gives an inspiring speech on film editing, technology, audience expectation, how film grammar is changing with digital technologies, and physics. Don’t miss this.
The following interview took place after 2013 “25 New Face” Nandan Rao had seen for the first time The Other Men of Dodge City, a re-edited version of his own movie The Men of Dodge City cut by fellow 2013 “New Faces” Pete Ohs and Andrea Sisson. The film debuts on NoBudge from Wednesday February 19 at 7pm. You can read Ohs and Sisson’s take on the film here. Filmmaker: What was your reaction when Pete and Andrea first got in contact with you? Do you remember what their pitch was in terms of what they wanted to do? Rao: We have a mutual friend who […]
The following was written by 2013 “25 New Faces” Andrea Sisson and Pete Ohs in advance of the first screening of their film The Other Men of Dodge City, a re-edited version of The Men of Dodge City by fellow 2013 “New Face” Nandan Rao. The film plays on NoBudge from Wednesday February 19 at 7pm. Check back tomorrow for Rao’s response to seeing the reworking of his film for the first time. First and foremost, Nandan’s eye is a force to be reckoned with. When we first saw The Men of Dodge City, we laughed at the snail’s pace and non-existent […]
The following is a guest post written by composer Kim Halliday, a U.K.-based composer who has written music for shorts, features, documentary and fiction. You can find his work at www.kimhalliday.com, under “Kim Halliday – Music” on Facebook, and @hallidayk on Twitter. Many film composers learn their trade by scoring short films. Many continue to score short films, and many never get an opportunity to score a full feature. The truth is that there are many challenges for a composer with a short – how do you get coherent themes into so few cues, for example, and how do you […]
The post-production process is an often underestimated one, both in the amount of work it necessitates and in its shaping of the final product. From an outside perspective, viewers may assume that a film’s visuals are simply captured on-set, in camera, and transferred to screen without much alteration. In reality, color grading the camera’s images is an art form unto itself. Over at Hammer to Nail, Chad Hartigan, director of last year’s Sundance NEXT inclusion This is Martin Bonner, interviews his colorist Alex Bickel, whose fingerprints were on a whopping six titles in Park City earlier this month: Blue Ruin; Camp X-Ray; Kumiko, The […]
Music in cinema continually captivates audiences. Scores and soundtracks can become as renowned as a film itself and play a large part in an audience’s emotional engagement with a movie. Awards are distributed honoring Best Original Song, Best Original Music Score, Best Film Music, and Best Music Direction at multiple film festivals and award ceremonies. But music has also always been a fascinating subject for movies as well. Struggling musicians to sensational bands, and everyone in between, have been captured in film. The Sundance Film Festival is often the first venue at which these movies premiere, and this year is […]
Along with Sidney Lumet’s Making Movies and Andrei Tarkovsky’s Sculpting in Time, a book — an essay comprised of diary excerpts, actually — I recommend to all aspiring directors is Richard Stanley’s “I Wake Up Screaming.” It originally appeared in the 1994 third edition of the film anthology Projections, and it’s now published (with permission, the site claims) at the director’s unofficial website, Between Death and the Devil. “I Wake Up Screaming” documents Stanley’s attempt to make an ambitious Namibia-shot art horror-thriller called Dust Devil years after an earlier production fell apart. The movie Stanley went on to make instead, […]