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News & Updates
July 19, 2017
Interaction Design & iOS Design: Dribbble Redesign Concept
Interaction Design & iOS Design: Dribbble Redesign Concept
You know how we feel about redesigns on ABDZ right? It’s always a good thing to take a look at them and see what was the general thinking behind each concept. What was improved from the actual product. That way, you can definitely have a better idea. It is for this redesign concept for Dribbble that involves interaction design and iOS design. Designed by Vietnam-based designer Tran Mau Tri Tam, we are introduced to a simpler UI. I think what was the most interesting feature highlighted by Tran was Custom Tabs where you can organize your own tabs. A simple feature that can increase the overall user experience.
Tran Mau Tri Tam is a UX/UI designer based in Ho Chi Minh City, Vietnam, he is also an exclusive elite author over at Envato Melbourne. You should definitely check out his latest work via his Behance.
I decided to challenge myself make a small concept that would let you know what I would like to add into Dribbble iOS App’s features. I also redesign almost visual interface what may make Dribbble looks better, at least for me
Concept Gallery
More Links
- Follow Tran Mau Tri Tam’s latest work on Behance
AoiroStudio
Jul 19, 2017
Source: Abduzeedo UI/UX
July 18, 2017
The Cities Summit at SXSW – A Fresh Look at the Future of Cities
The Cities Summit, a new convergence program for SXSW 2018, explores the future of cities through two full days of inspirational talks, hands on learning sessions, and special events to spark connection. Open to all SXSW registrants, the Cities Summit is designed to bridge the dialogue between city leaders and decision makers with SXSW communities – digital creatives, entrepreneurs, designers, artists and others – for a fresh look at how we shape our cities, and how they shape us.
Cities Summit Focus Areas
As the Sunday, July 23 deadline approaches for PanelPicker entries, note that the Cities Summit will be centering programming around three focus areas:
City As a Narrative
This focus area will tie in the arts, film, music, and culture, for a look at how we tell stories about cities, and how places tell their own stories.
Civic Innovation
An in-depth look at how tech, startups, designers, policymakers, and nonprofits are finding new ways to solve existing problems.
Cities for All
This focus area explores the future of urbanization through topics such as social equity, accessibility, health, immigration, and climate change.
Enter Your PanelPicker Idea
Visit PanelPicker.sxsw.com, login or create a new profile to begin. All ideas received will be posted online for Community Voting from Monday, August 7 – Friday, August 25. Review the resources and tips to get started – PanelPicker entry deadline is Sunday, July 23 at 11:59pm PT. Good luck!
Mark your calendars – registration and housing opens on Tuesday, August 1 for the 2018 SXSW Conference & Festivals in Austin, Texas from March 9-18.
Austin during SXSW 2017 – Photo by Mike Vas
The post The Cities Summit at SXSW – A Fresh Look at the Future of Cities appeared first on SXSW.
Source: SxSW Film
July 18, 2017
Beautiful Illustrations by Joseph Catimbang
Beautiful Illustrations by Joseph Catimbang
Joseph Catimbang is an artist from the Philippines currently based in California, and his illustrations are just wonderful! He comes up with full black ink artworks that will amaze you!
He usually draws in Moleskines, which I find really awesome, and you can see how detailed his pieces are! These are only a handful of his work. For more it, please visit his Instagram! I hope you enjoy these. Cheers! 😉
PauloGabriel
Jul 18, 2017
Source: Abduzeedo Illustration
July 17, 2017
Illustration: Mayweather V McGregor by Yann Dalon
Illustration: Mayweather V McGregor by Yann Dalon
Whatever if you’re a fan or not, or you heard the news feeds or even social media channels. I am personally pretty happy with the overall outcome of the fight between Mayweather and McGregor. I am seeing it as a sports performance instead of what others might think. We are taking a look at this illustration tribute beautifully done by a Paris-based illustrator named Yann Dalon. I liked the fact that each character aren’t fully coloured with an desaturated effect.
Yann Dalon is an freelance illustrator currently based in Paris, France. His work is always oriented between illustration, painting and drawing. I just can’t believe that we haven’t shared his before on ABDZ.
My painting for a big event, the Fight between Floyd Mayweather (Boxing) and Conor MacGregor (MMA)
Links
- Learn more about Yann Dalon: yann-dalon.com
- Follow Yann on Behance
AoiroStudio
Jul 17, 2017
Source: Abduzeedo Illustration
July 16, 2017
How Fantasia Film Festival Has Fostered a New Generation of Genre Filmmakers
When Philippe McKie was seven years old in 1996, his cinephile father took him to a screening of the Japanese anime “The End of Evangelian” at the very first edition of the Fantasia International Film Festival in Montreal. “It blew my mind,” said McKie in a recent interview. “It created this love for international cinema — and this love for Japanese cinema.”
That passion continued through his teen years, as he continued watching movies at the three-week genre festival and eventually went to film school at Montreal’s Mel-Hoppenheim School of Cinema, before leaving the city to make movies in Japan. Now he’s back in an entirely new context, as a filmmaker with two short films in competition, both made abroad. “It hasn’t even fully dawned on me that I’m part of it now,” he said.
“I know the programmers by reputation but it’s my first time being a part of the fest. I’m meeting these guys for the first time as a filmmaker, so they don’t know, but to me, it’s really special.”
McKie’s experience is a variation on a familiar story in Quebec’s growing genre scene, which Fantasia has fostered for more than two decades. Supported by the province’s cultural SODEC in addition to Telefilm Canada and Creative Europe, Fantasia hosts some 150 features and 300 short films, in addition to the growing genre market Frontières, now in its fifth year.
“There’s definitely an institutional openness to genre that we’re seeing develop,” said Lindsay Peters, the festival’s market and industry director. “It’s taken a long time, but it’s looking positive now.”
McKie’s two shorts in the lineup collectively speak to the expansive nature of Fantasia’s programming strategy: “Breaker” is a cyber-punk thriller set in dystopian Japan, while “Be My First” is an erotic drama about a young woman on an enigmatic mission to lose her virginity. He was clearly enthusiastic to be back at the festival that inspired his burgeoning career. “I think this city is really funky,” he said. “You’ve got this clash of cultures, the whole French-English clash, but it’s also a very artistic city. People are very open. I’m really thankful that I can be from here. It’s always going to be a part of my identity.”
Phillipe McKie
Whereas many film festivals see their local talent move on, Fantasia’s specific focus on genre films has led many filmmakers like McKie to keep coming back to the festival — and, in other cases, stay put. Each of the festival’s three weekends contains a different short film section featuring work by Quebecois directors. One of these is Ariane Louis-Seize, whose wordless 19-minute short “The Wild Skin” revolves around the peculiar experiences of a young woman who discovers a python in her apartment and undergoes a strange erotic experience as a result.
Louis-Seize grew up near Ottawa idolizing Jane Campion’s films, and has found her groove producing work in Montreal. She waits tables two nights a week, but mostly lives off grant money. “I don’t need a lot to live here and feel comfortable,” she said during a happy-hour event for Quebecois filmmakers on the festival’s first weekend. “There are great talents and technicians here. It’s just easier because you have a real industry and I was able to create my own circle. It’s really nice because it’s all so casual.”
A native French speaker for whom speaking English doesn’t come easily, she has no plans to attempt working in other parts of the world. “I really like it here, but I don’t know anything else,” she said, adding that she had no major commercial ambitions. “Honestly, I don’t really think of that. My new short is really unclassifiable. It’s slow, and dark. For now — and probably for the rest of my life — I’ll work here.”
Ariane Louis-Seize
Ariane Louis-Seize
Fantasia’s role in supporting Quebecois filmmakers shows no sign of waning, as much of the market’s activity proves. This year, Canadian producers are eligible for funding from European financing institution Eurimage, and Frontières will host a panel on the fundraising behind two recent projects, “Muse” and “Border.” Another panel finds seven Canadian projects from up-and-coming female writer-directors being pitched in front of industry experts.
One of the participants in the panel is Elza Kephart, who runs the production company Midnight Kingdom Films out of Montreal. Unlike Louis-Seize, Kephart never landed government funding for her projects and attended film school in the U.S., at Emerson. However, Fantasia has played a crucial role in the evolution of her career: When she was looking for support on her directorial debut, 2003’s “Graveyard Alive,” programming director Mitch Davis met with Kephart’s producer early in the production and promised a slot in the lineup. It played there to a sold-out crowd. A decade later, she pitched a project at the market. “I was hooked,” she said. “I feel like the film crowd is a big circus family.”
She’s firmly entrenched in Quebec’s film scene and active in several local organizations, such as the women filmmaker collective Equitable Leaders, which “strives to attain equity for women directors in Quebec’s film industry.” At this year’s market, she’s pitching the project “Slaxxx,” which features a pair of killer pants. “I like death, blood, weirdness,” she said.
For much of Fantasia’s community, the festival provides a validation of their shared sensibilities — and the prospects of finding an audience beyond the limitations of the three-week gathering.
“There’s an opportunity for the local industry to really interact with the national scene,” Peters said. “The Quebec genre community is small, but it’s very strong.”
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Source: IndieWire film
July 16, 2017
Colin Trevorrow Explains Why He Should Still Direct ‘Star Wars’ Despite That Whole ‘Book of Henry’ Thing
Colin Trevorrow’s “The Book of Henry” was so poorly received that some have wondered whether he’ll still direct the untitled “Star Wars: Episode IX.” He wouldn’t be the first director to lose a “Star Wars” gig, as both Josh Trank and Phil Lord and Christopher Miller have been relieved of their duties in taking us to a galaxy far, far away. In a new Hollywood Reporter interview, Trevorrow appears to respond to this speculation by explaining why he’s still the right man for the job.
“Not only did I grow up on these stories, like all of us did, [but] I think that the values of ‘Star Wars’ are values that I hold very close and very dear in my life,” says Trevorrow, perhaps to all of us reading at home or perhaps to Kathleen Kennedy.
“I feel that the message of the way that the Force teaches you to treat other people and show respect for others, and the way it guides you through life, is really important to me. And I hope everybody would realize that that set of stories has affected me as deeply in my life as it has affected them.”
It isn’t quite “let the hate flow through you,” but as a plaintive statement it’s reasonable enough. Read the full interview/plea here.
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Source: IndieWire film
July 16, 2017
‘War for the Planet of the Apes’ Tops ‘Spider-Man’ Box Office But Disappoints Despite Rave Reviews
“War for the Planet of the Apes” (20th Century Fox), the third entry in the third round of the science-fiction series that launched in 1968, achieved a respectable if not spectacular $56.5 million opening, notching the top slot against the second weekend of “Spider-Man: Homecoming” (Sony), which dropped an unexpectedly large 61 per cent.
READ MORE How ‘Planet of the Apes” Started Hollywood’s Franchise Obsession
Remarkable and unprecedented for summertime play, three of the top five films this weekend “Apes,” “Baby Driver” (Sony) and “The Big Sick” (Lionsgate) are critically acclaimed wide releases with Metacritic scores over 80. That range of specialized titles and awards contenders is far from typical summer fare.
“Apes” received the top reviews of this well-regarded trio. The advance buzz was big enough to suggest an opening over $70 million. Instead, it is the lowest — in adjusted grosses, “Rise of the Planet of the Apes” did the equivalent of $61 million, 28 per cent below “Dawn of the Planet of the Apes” three years ago.
The “War for the Planet of the Apes” total still comes out ahead of several disappointing summer franchise sequels. But with a $150-million production budget before marketing, the movie will need a decent hold and stronger foreign results to make its expected profit. More importantly, the result is not enough to suggest a continuation of this series at this expense. Again, the impact of so much repetition in the release schedule diminishes even the top franchise entries.
“Baby Driver”
Wilson Webb
“Baby Driver” is thriving, with a fabulous hold: only a 33 per cent drop in its third weekend. It’s at $73 million domestic, and could even stretch to reach $100 million.
The Lionsgate/Amazon family dramedy “The Big Sick” raced to $7.6 million and $16 million so far. The number is reasonable for an arthouse crossover with niche appeal (a true romance about a Muslim man whose girlfriend faces a health crisis) but the film fell short of some predictions that it could pass $10 million. Next weekend will be critical to see if it can reach its potential, although it will easily top “The Gift” and “The Zookeeper’s Wife” to become the top specialty release film of 2017.
“Spider-Man: Homecoming”
“Spider-Man: Homecoming” fell a steep 61 per cent, similar to two earlier franchise entries, but far more than its two predecessors, which initiated fresh stars and stories (those dropped 38 and 44 per cent respectively). It competed with “War for the Planet of the Apes” for an overlapping audience. But this now looks to reach $325 million domestic, which is good enough to be a nice profit maker combined with foreign and other revenues. But does it justify more expensive sequels ahead?
The marvel of the summer continues to be Warner Bros./D.C. Comics’ “Wonder Woman,” which fell only 30 per cent in its seventh weekend, just under $7 million and good enough for sixth place. Even with its pattern for strong holds, this one is incredible, and now revises expectations for its total domestic gross to over $400 million.
“Wonder Woman” actually bested the other new wide release, Broad Green’s horror entry “Wish Upon” which could only manage $5.6 million in 2,250 theaters.
The Top Ten came in a $157 million, $6 million better than a year ago. That reverses a recent trend, and helps in the struggle to equal 2017 so far. It could be temporary. As much excitement as there is for Christopher Nolan’s “Dunkirk” next week (which also brings Luc Besson’s “Valerian and the City of a Thousand Planets” from STX and Universal’s raunchy comedy “Girls Trip”), it faces comparison to a weekend last year that saw three new films led by “Star Trek Beyond” which opened to $100 million combined.
Top Ten
1. War for the Planet of the Apes (20th Century Fox) NEW – Cinemascore: A-; Metacritic: 83; Est. budget: $150 million
$56,500,000 in 4,022 theaters; PTA (per theater average): $14,048; Cumulative: $56,500,000
2. Spider-Man: Homecoming (Sony) Week 2; Last weekend #1
$45,200,000 (-61%) in 4,348 theaters (no change); PTA: $10,396; Cumulative: $208,270,000
3. Despicable Me 3 (Universal) Week 3; Last weekend #2
$18,948,000 (-44%) in 4,155 theaters (-380); PTA: $4,560; Cumulative: $187,990,000
4. Baby Driver (Sony) Week 3; Last weekend #3
$8,750,000 (-34%) in 3,043 theaters (-183); PTA: $2,875; Cumulative: $73,152,000
5. The Big Sick (Lionsgate) Week 4; Last weekend #8
$7,600,000 (+112%) in 2,597 theaters (+2,271); PTA: $2,926; Cumulative: $16,037,000
6. Wonder Woman (Warner Bros.) Week 7; Last weekend #4
$6,885,000 (-30%) in 2,744 theaters (-344); PTA: $2,509; Cumulative: $380,636,000
7. Wish Upon (Broad Green) NEW – Cinemascore: C; Metacritic: 30; Est. budget: $12 million
$5,587,000 in 2,250 theaters; PTA: $2,483; Cumulative: $5,587,000
8. Cars 3 (Disney) Week 4; Last weekend #6
$3,167,000 (-41%) in 2,049 theaters (-653); PTA: $1,546; Cumulative: $140,032,000
9. Transformers: The Last Knight (Paramount) Week 4; Last weekend #5
$2,780,000 (-56%) in 2,323 theaters (-918); PTA: $1,197; Cumulative: $124,889,000
10. The House (Warner Bros.) Week 3; Last weekend #7
$1,795,000 (-62%) in 1,633 theaters (-1,501); PTA: $1,099; Cumulative: $23,130,000
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Source: IndieWire film
July 16, 2017
Al Pacino Transforms Into Joe Paterno in First-Look Photo from Barry Levinson’s Untitled HBO Drama
If the words “Untitled Barry Levinson Project” don’t get you excited, then perhaps this first-look photo of Al Pacino as Joe Paterno in the upcoming HBO movie will. Pacino is playing the disgraced coach who was best-known as the winningest coach in college-football history before becoming part of the Jerry Sandusky scandal in late 2011.
JoePa, as he was sometimes known, served as head coach of the Penn State Nittany Lions from 1966 to 2011 and racked up 409 wins during his decades-long tenure. Sandusky, the team’s defensive coordinator, was convicted of 45 counts of sexual abuse of young boys in June of 2012 — five months after Paterno’s death from lung cancer at 85. For his alleged role in helping cover up the years-long scandal, Paterno had 111 of his victories vacated by the NCAA.
Levinson, who won an Academy Award for directing “Rain Man” and has received five other nominations, previously worked with Pacino on “You Don’t Know Jack” and “The Humbling.” Riley Keough, Annie Parisse and Kathy Baker co-star in the untitled project, which is currently in production.
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Source: IndieWire film
July 16, 2017
Steven Spielberg Directed ‘Poltergeist,’ Says the Film’s Assistant Cameraman
The question of who actually directed “Poltergeist” has been haunting curious viewers for as long as the movie itself. Tobe Hooper is officially listed as having done so, though it’s long been suspected that co-writer and -producer Steven Spielberg was the true helmer; due to a clause in his “E.T. the Extra-Terrestrial” contract, however, Spielberg wasn’t technically allowed to direct anything else while preparing his kid-friendly classic.
In an appearance on Blumhouse’s podcast ‘Shock Waves,’ the film’s assistant cameraman more or less confirms that Spielberg was the actual director.
“It was a very intense, very fun, very technical movie to work on. There’s a lot going on. And candidly… Steven Spielberg directed that movie. There’s no question,” says John Leonetti, whose brother Matt was the film’s cinematographer. Leonetti, who directed “Annabelle” as well as the upcoming “Wish Upon,” spares several kind words for Hooper nevertheless.
“However, Tobe Hooper – I adore. I love that man so much,” he says of the genre auteur responsible for the likes of “Lifeforce” and “The Texas Chainsaw Massacre.” Here he elaborates further:
“Hooper was so nice and just happy to be there. He creatively had input. Steven developed the movie, and it was his to direct, except there was anticipation of a director’s strike, so he was ‘the producer’ but really he directed it in case there was going to be a strike and Tobe was cool with that. It wasn’t anything against Tobe. Every once in a while, he would actually leave the set and let Tobe do a few things just because. But really, Steven directed it.”
That sounds fairly definitive. Listen to the full podcast here.
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Source: IndieWire film
July 16, 2017
11 Cinematography Tips That Will Make Your Aerial Compositions Better
Sometimes all it takes to grow as a cinematographer is changing your perspective.
It’s easy to get in a rut as a cinematographer. You’ve been shooting the same stuff with the same gear using the same techniques for longer than you’d like to admit and it’s starting to not only get repetitive, but it’s damaging your creative spirit, too. If you’re starting to feel like you’re capturing the same kinds of shots over and over again every time you turn on your camera, then maybe all you need is to change your perspective in order to see your surroundings in a whole new way. In this video from COOPH, you’ll learn eleven helpful tips that will help you do just that by using drones.
Even though these ideas are geared more toward drone photography, they apply to cinematographers of all types, whether they’re shooting with a drone or not. They focus primarily on composition and framing, like finding symmetry, vertices, patterns, and repetition, but they also touch on how to use color, lighting, and background to create dynamic shots.
Source: NoFilmSchool