TheCameraStoreTV is one of my favorite YouTube channels. They offer in-depth reviews of cameras, delivered with an affable tone and an air of fun.
One series they’ve been doing is “Wooden Niccolls” in which their main host, Chris Niccolls, tries to re-create famous scenes from movies, but using the consumer-grade cameras that they have access to. For their latest entry, they tried re-making a scene from Goodfellas using the upcoming Panasonic GH5:
These videos are very amusing, and the final results are impressive. It seems like it truly is possible to get pretty close to the look of a scene from a classic film, so long as you have the right lighting setup. However, this is also true of a lot of other high-end mirrorless and DSLR cameras these days. I would’ve appreciated a closer look at exactly how much you can push GH5 footage in post, or what flexibility you have with GH5 footage in non-studio conditions. That being said, the ungraded GH5 log footage they show in the video looks fantastic.
I used to own a Panasonic GH4 and while I enjoyed shootingwith it, I eventually sold it because I just didn’t find the Micro 4/3rds format (and the Panasonic lenses I used with it) delivered on the sharpness, bokeh, and separation that I was looking for in my images and videos. Moreover, the low-light performance was just not comparable to competitors. I’ve recently fallen in love with the Fuji X-T2, which is a camera I take with me almost everywhere.
Industrial Light and Magic has released this spectacular visual effects breakdown of the climactic space battle sequence in Rogue One.
The most impressive part to me is that massive lighting array they show, which I assume they use to shoot actors in X-Wings interacting with the space battle. A similar, much more elaborate rig, was used for Gravity. It’s cool to know that even for shots where you maybe see these pilots for maybe a few seconds each, they still put so much care into getting the look just right.
I recently had a chance to watch this year’s Oscar-nominated short documentaries. While my favorite film was The White Helmets (currently streaming on Netflix), I also found 4.1 Miles to be very powerful. It tells the story of a Greek coast guard captain whose job has unexpectedly become saving refugees on a regular basis.
In addition to telling the story from an unexpected perspective, there are some stunning cinematography decisions here that make it a gripping short film. I hope 4.1 Miles affects you as much as it did me.
[This post contains some very minor plot info from John Wick 2]
Last fall Spike Jonze released a new ad for KENZO fragrance with actress Margaret Qualley:
One of the most spectacular sequences in this ad takes place around 1:50 in, when Margaret dances in front of a hall of mirrors. As the camera does precise, gorgeous movements around her, you never once glimpse a reflection of the rig that the filmmakers are using.
Ian Failes at Inverse has a great explanation of how this was achieved. According to VFX supervisor Janelle Croshaw:
Doron Kipper and Jesse James Chisolm (from Digital Domain) spent hours surveying the mirrored staircase. They used tiny pieces of tape on the mirrors to capture the points needed. Lots and lots of panoramas and high dynamic range images (HDRIs) were taken. During the shoot a clean plate was captured with the Technocrane without Margaret and then the Technocrane was cleared out and a clean plate was captured with a handheld cam. Spike and team were super cooperative in clearing the frame for as long as we needed which was very cool considering those mirrors pretty much reflected two whole floors of the Dorothy Chandler theater.
All of the data collected enabled us to build an environment in compositing software Nuke and also achieve a camera track usable for projections (where the live action footage is ‘projected’ onto a CG version of the environment to enable camera movement). The tracking geometry was mirrored to represent the reflections in the mirror and that mirrored geometry was used to muscle through the matchmove. It wasn’t easy and Jim Moorhead, our matchmove artist, put so much care in to this shot. In the end there was a lot of hand painted clean-up and the shot was split amongst two companies and multiple artists. Artist Rob Fitzsimmons became the keeper of the shot, managing the paint patches and ensuring the quality level was kept to the highest standards. His perfectionism and strong eye made the shot as seamless as it is.
This video came to mind for me recently because I just saw John Wick 2, which has an even more impressive sequence that takes place in a room full of mirrors. I’m not sure whether similar techniques were used, but director Chad Stahelski does describe his process briefly in an interview with Movieweb.
I found most of last night’s Super Bowl ads to be pretty uninspired. Unlike years past, there were very few moments that will be cultural flashpoints, discussed heavily for the weeks to come.
That said, 84 Lumber, a Pennsylvania building supply company, made what I consider to be the best Super Bowl ad this year — a short film that told the story of a mother trying to immigrate into the U.S. from Mexico. There are a couple of quasi-controversies that sprung up as a result of the ad:
They only showed part of the ad because it was deemed too controversial to depict an imagined version of Trump’s border wall (read more).
Some viewers were angry because they thought the ad was advocating for illegal immigration (read more).
One overall theme that was obvious: corporate America is rebelling against the government’s position on isolationism and nativism in a big way. They are betting that Trump’s attitude is not only wrong, it’s also unprofitable. We’ll see soon if they’re right.
This short film by Tim Mason is absolutely uproarious. It captures so many of the absurd aspects of voice acting gigs: the mind-numbing repetition, the dubious acting direction, the bored but patient sound guy, the willingness of the voice actor to press on no matter what.
Also, love the juxtaposition between what’s unfolding in the booth and the nonsense outside of it. This incongruity often exists in real life too, albeit not in as extreme a fashion.
I love Burger Fiction’s Oscar-related montages, and their latest is no different: a chronicle of every film that’s ever won the Academy Award for Best Cinematography, starting with 1927’s A Song of Two Humans.
Technology has changed the way we interact and connect with our friends and loved ones. It’s also changed the way we go to the bathroom. In Flushed, a delightful short film by Grace June, a speechless protagonist overshares her porcelain activities with unpredictable results.
In this week’s SNL, Aziz Ansari stars in a sketch that captures what it feels like to not adore a film that everyone else is on board with. It can be a lonely, lonely place.
(Bonus points for capturing a lot of the best complaints against La La Land and the somewhat unconvincing rebuttals to them, not to mention the weird tension between people who La La Land lovers and Moonlight lovers)
John McTiernan, the director of Die Hard, has just directed his first video in more than a decade: an ad for Tom Clancy’s Ghost Recon: Wildlands.
Over at Vulture, Drew Taylor has the incredible story of what McTiernan has been up to:
McTiernan’s inauspicious reemergence leads to a couple of bigger questions: Where, exactly, has he been? And what makes this ad so special?
To answer the first question, you have to go back to 2006, when Anthony Pellicano, a private eye with ties to some of the most powerful people in Hollywood, was arraigned on federal wiretapping charges. It was the conclusion of both a three-year investigation and Pellicano’s 30-day stint in prison for illegally keeping explosives in his West Hollywood office. The resulting trial would eventually embroil some of Hollywood’s biggest executives (Michael Ovitz and Brad Grey) and shiniest stars (Tom Cruise and Chris Rock). At the time, Vanity Fair described the scandal as Hollywood’s Watergate.
But only one member of the Hollywood elite would actually get sent to prison for to his relationship with the notoriously scuzzy Pellicano: John McTiernan.
Like Taylor, I’m rooting for a McTiernan comeback.
Twitter just can’t seem to let go of Vine. The company announced last fall it would close the video-sharing community site and its accompanying mobile applications, which it then did just days ago. But it also has taken several steps to ensure that the content created in Vine would not be lost, by offering tools to export videos, both online and in its app. Today, in another move to preserve Vine content, Twitter has launched an online archive of Vine videos — basically a static website containing all the posts made from 2013 through 2016.
The archive is live now and I dig the clean organization. Vine was an incredible place for light, fun, memorable creativity — often by people of color. I was really sad to hear the service would be shutting down, but glad to hear it’ll be preserved in some form.
YouTube user Homer Thompson has taken a tape recording that YouTube user William Forsche made while watching Star Wars in the theater in 1977 and synced it up with the on-screen action they were observing.
The result is…not too different than what you’d hear from modern day audiences. But there is something pure about it — these people are likely seeing this story for the very first time.
The making of the latest Young Thug music video, “Wyclef Jean,” didn’t go quite as planned. Co-director Ryan Staake was given some pretty specific instructions by Young Thug, but when the artist didn’t show up for the shoot, Staake had to improvise. The result is a hilarious behind-the-scenes look into video-making that includes a mish-mash of different ideas that have no business being edited together.
I can’t say with confidence if any of the shenanigans described in the video are real. But either way, it’s a pretty novel way to roll out a new music video. Watch the final(!) video below:
Fun essay by the Cracked team, assembling evidence that Star Wars takes place in our universe.
It reminded me of this email below that we received from listener Rian on my Game of Thrones podcast A Cast of Kings. Worth keeping in mind when we watch anything that takes place “A long time ago in a galaxy far, far away…”
David doesn’t make a big deal of it, but he keeps pointing out how they use “real-world” units of measure in this fictional medieval land. Fair enough, it is noticeable. However, he always mentions it in an almost snide wink to the writers, like he’s all-knowing, but all-forgiving of this, their minor transgression. He’s too smart to let it escape his notice but his beneficence is such that he will deign to suspend his disbelief. What’s worse is that the latest mention of it was in the context of explaining how Westeros is not medieval Earth, but an alternate universe.
In much the same way, I think he’s forgetting the fact that these folks aren’t speaking English. They’re speaking “Common,” and we are watching it from a Common-speaking POV. Perhaps he’s been spoiled by the Battlestar Galacticas of the world where we speed along someone’s dialogue and suddenly they throw us a “I’ll meet you in 15 centons” in the mix. “Whoa! You go, writers! It’s not English, it’s another language in a galaxy far, far away. You just blew my mind, dude!” But I contend that that approach is more flawed. It suggests that those folks are indeed speaking English and that if we were to suddenly materialize into that world, we’d understand everything but their units of measure.
On the Game of Thrones, it should make sense that the units they discuss are ones that we understand. It’s not that they happen to speak English. It’s that we happen to understand Common. Or, if you’d prefer, it’s as if we’re wearing universal translators. So when someone says “The Wall is 700 feet high” in Common, we’re able to understand the sentiment of the entire statement (including the relative height being described) and not a collection of the vocabulary words that happen to exist in translation. If you were a Common-to-English interpreter, and some Westerosi said “Targuna pon sanzu gabagool,” what good would it do to translate that into “The wall is 18 gabagools high”? Not too much. It’s a good thing we all speak Common.
p.s. Apologies to David. I know this comes across as more denigrating than it has to be, but it’s too much fun to take jabs at him. And that seems to be in keeping with the spirit of the show.