Filmmaking
Filmmaking
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Panasonic VariCam 35 and HS Are Now Shipping
Panasonic is now shipping their new VariCam models, the 35 and HS. Panasonic first displayed mockups of a camera at NAB in 2012, but they didn’t announce these models until NAB 2014, and it’s taken another seven months to finally ship the product. The VariCam is really two sensor head units and a single recording unit that can be attached to either sensor unit. The VariCam 35 has a 35mm 4K sensor with a PL mount, while the Varicam HS is a 2/3” HD sensor with a B4 mount and the ability to capture at 240fps. The HS model is primarily intended for […]
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Trailer Watch: Joshua Oppenheimer’s The Look of Silence
Formally exacting where The Act of Killing was dazzlingly brazen, The Look of Silence is no less staggering of a feat than its talked-about predecessor. Joshua Oppenheimer’s unflinching look at the victims behind the Indonesian genocide will not hit theaters until next Spring, but the documentary continues to ride a nice critical wave from the fall festival circuit, where it picked up the FIPRESCI prize in Venice, amongst other plaudits. I, too, was wowed by the film’s unflinching probe of military and neighborly antagonization at my NYFF viewing, and look forward to revisiting it in the coming months.
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Bond/360 Launches Cinepacks: Pay What You Wish Bundles
Scott previously wrote about and interviewed Bond/360’s CEO Marc Schiller on his decision to bundle and sell their movies via a pay-what-you-wish “Radiohead-esque” model. What began with the “Creativity Bundle,” the packaging of four titles that all dealt with making and creation, now looks to be a recurring initiative, with the company’s introduction of Cinepacks. Through October 23, you can purchase the Sports Docs pack, which allows you to own Medora, Desert Runners, Stephanie in the Water and Doubletime for no less than $1. While this may be a financial gamble, Schiller is certainly capitalizing on the notion of fan engagement, with each collection catering to a specific interest […]
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Bold Choices: Making the “Film-to-Table” Short Film, The Slaughter
It’s March 2012. I’m standing outside a warehouse with 18 people. We’re about to watch a pig die. Three cameras are ready to roll: two for the movie and one for legal purposes. My actors have the morning off; because of my agreement with SAG, they’re not allowed to be on set for this particular scene. Rory Royston, the operator of an independent slaughterhouse, as well as his assistant, stand in for my lead actors, dressed in their wardrobe; they will make sure the slaughter about to be performed is both safe and humane. Rory looks to me; it’s time. […]
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Five Questions for Humanity Creators Kerrin Sheldon and Gaston Blanchet
“An iPad app for explorers,” the just-launched Humanity dubs itself as a “new kind of travel show that places authenticity and storytelling above all else.” Notably, Humanity avoids star ratings, food porn and shopping tips in favor of immersive looks into the landscape and the people of a particular place of interest. From the press release: Humanity is an app that allows you to choose your own path. We don’t want you to check-off a country, we want you to live and breathe it, to explore its many offerings and expand your horizons. While quality storytelling will always be our […]
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Not an Option: The Ins and Outs of Shopping Agreements
The motion picture and television industries have become increasingly informal in recent years. In the past, agents would sign actors and writers before trying to sell their services or material, members of producing teams would sign collaboration agreements with their partners before taking a project to a studio, and producers would enter into written option agreements with writers under which they would pay money to exclusively option the motion picture and television rights to a property. These days, however, many agents will “hip-pocket” new artists and promote them without a contract to avoid commitment; a collaborator will walk a project […]
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Charting the Course: Data Visualization in Documentary Film
“Every single pixel should testify directly to content.” So says Edward Tufte, a professor emeritus at Yale and pioneer in the field of data visualization. And if this emphasis on clarity and, essentially, story is true in the world of static infographics, it’s exponentially so when content comes at 24 frames per second. In the short PBS film The Art of Data Visualization, Tufte reaches far back in time, before the mundane pie charts and bar graphs that school children are taught to decipher, finding the beginnings of data visualization in stone-age cartography and the rise of science during the […]
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Positive Trauma: Editor Mathilde Bonnefoy on CITIZENFOUR
Paris-born editor Mathilde Bonnefoy has criss-crossed documentary and fiction, working with directors such as Wim Wenders (The Soul of a Man) and, most prominently, Tom Tykwer. Her first feature editing credit is the director’s time-bending international hit Run Lola Run, and she has continued to work with Tykwer on Heaven, Three and The International, among others. Long based in Berlin, Bonnefoy, as she relates below, was sought after by Poitras because of her work on Tykwer’s films and the “thriller” nature of CITIZENFOUR’s source material. Below, in the final days of post-production, I speak to Bonnefoy about encrypted workflows, working […]
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When Restoration Met Distribution
As CEO of the Los Angeles-based creative studio and postproduction house Cinelicious, Paul Korver had the unsettling feeling that too many deals were passing him by. The preferred film scanning and restoration vendor for Criterion and Alamo Drafthouse, Cinelicious was also making a name for itself as a digital intermediate supervisor. Touring the festival circuit with the likes of Boyhood and Prince Avalanche, Korver found himself in conversation with various rights holders who were looking to restore films but without the funds to do so. What if, he thought, Cinelicious had a distribution arm to monetize that restoration investment? Thus […]
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Afternoon Smackdown: Pre-Vis’ing a Fight Scene
Action cinematographer Lawrence Ribeiro forwards this short video of an afternoon’s work — literally. Below, he explains how, with a camera and two top stuntmen, he can mock-up a dynamic fight scene. From Ribeiro: Here’s a chase and fight sequence we shot, in five hours, using two top stunt professionals and one camera. In 2nd unit, we’d consider this type of shooting a level above pre-visualization (previs). Previs is a critical tool for designing action sequences. Sometimes all a script will say is, “…and they fight.” So videos like this allow us to experiment with choreography, and save time and […]
