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October 31, 2017

Photography: Breath of the Dolomites Series

Photography: Breath of the Dolomites Series

The Italian Dolomites are a range of mountains located in the Northeaster of Italy. Part of the UNESCO World Heritage, it’s a beautiful series of mountains to capture. We are following the work of San Francisco-based photographer Michael Shainblum and his photographic voyage to the Dolomites. You gotta love how sharp are his pictures and the whole atmosphere it creates almost makes you feel the tone of the colours.

Michael Shainblum is a filmmaker, photographer and timelapse artist based in San Francisco, California. You should definitely check out his Behance, lots of stunning projects. We’ll do another feature about his insane timelapses!

A collection of landscape photography taken in the Italian Dolomites.

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Photography: Breath of the Dolomites Series Photography: Breath of the Dolomites Series Photography: Breath of the Dolomites Series Photography: Breath of the Dolomites Series Photography: Breath of the Dolomites Series Photography: Breath of the Dolomites Series Photography: Breath of the Dolomites Series Photography: Breath of the Dolomites Series Photography: Breath of the Dolomites Series Photography: Breath of the Dolomites Series Photography: Breath of the Dolomites Series Photography: Breath of the Dolomites Series Photography: Breath of the Dolomites Series


Oct 31, 2017

Source: Abduzeedo Photography

October 30, 2017

#ScaryClownNight X Burger King Digital Campaign

#ScaryClownNight X Burger King Digital Campaign

If you’re easily unnerved by the sight of creepy clowns you may want to avoid select Burger King locations throughout the US if you’re jonesing for a Whopper on Halloween. On the other hand, if you enjoy dressing up as a creepy clown, you could earn yourself a FREE Whopper sandwich if you live in the following US cities: Miami, Austin, TX, Boston, Los Angeles and Salt Lake City.

Enter the suitably scary digital campaign “Come as A Clown, Eat Like a King” by global creative agency LOLAMullenLowe that has now been executed in over 20 global markets. Here in the US, the campaign launched via Burger King’s YouTube with a simple call to action, dress as a creepy clown and you’ll be rewarded with a delicious Whopper in return. 

So get your costume ready, head to your local BK restaurant and join in the fun. Burger King is also encouraging those participating in Tuesday’s promotion to send pictures using hashtag #ScaryClownNight.

#ScaryClownNight Photography

  • Agency: LOLA MullenLowe
  • Campaign: Scary Clown Night
  • Client: Burger King
  • Client Contacts: Fernando Machado
  • Chief Creative Officer: Chacho Puebla
  • Executive Creative Director: Pancho Cassis
  • Creative Director: Fred Bosch, Fabio Brigido, Tomás Ostiglia
  • Copywriter : Alvaro Palma, Jose Sancho, Tom Elliston
  • Art Director: Pedro Sattin
  • Community Manager: Alex Sánchez
  • Head of PR: Sarah Okrent
  • Account Director: Carlos Solchaga
  • Account Manager: Beatriz Sanz, Laura Gerpe
  • Strategic Planner: Marcelle Santos
  • Channel Planner: Daniel Packness
  • Agency Producer: Florencia Caputo, César Baciero, Diego Baltazar
  • Production Company (FILM): Only 925
  • Director: Rodrigo Cortes
  • Executive Producer: Maria Jesus Horcajuelo
  • Production Manager: Oscar Vigiola
  • D.O.P : Rafa García
  • Editor: Efrain Parrilla
  • Post-Pro: Serena
  • Photographer: Ale Burset
  • Retoucher: Diego Speroni
  • Music: Hijos
  • Media Agency: Vision Media
  • PR Agency in UK : Weber Shandwick

Oct 30, 2017

Source: Abduzeedo Photography

October 30, 2017

How to Replicate the Super 16mm Look with Your DSLR

How do you fake the look of 16mm with your DSLR when shooting on film gets too expensive?I cut my photographic teeth on a Canon 5D Mark II and …
Source: CW’s Flipboard Feed

October 29, 2017

‘Amityville: The Awakening’ Made Just $742 This Weekend, One of the Worst Openings of All Time

Have you heard of “Amityville: The Awakening?” Neither has anyone else, it seems, as the latest installment in that strangely long-lasting horror franchise made just $742 in 10 theaters this weekend, ranking it among the poorest openings ever.

There are a few reasons for that, however. The film, which stars Jennifer Jason Leigh and Bella Thorne and was filmed in 2014, was released for free on Google Play a few weeks back; it’s also making its way to Blu-ray and DVD next month. That, combined with essentially zero advertising, explains how it averaged just $74 per theater.

Released by Dimension Films — the genre wing of the Weinstein Company, whose future is uncertain in the wake of the ongoing Harvey Weinstein scandal — “The Awakening” is the 10th installment in the “Amityville” series and a direct sequel to the original film. Like a lot of horror movies of late, it completely ignores every other sequel made before it.

Source: IndieWire film

October 29, 2017

‘A Wrinkle in Time’: How Ava DuVernay Overcame Her Fear of VFX

When indie director Ava DuVernay (“Selma”) became the first woman of color to tackle a $100-million tentpole, Disney’s upcoming sci-fi/adventure, “A Wrinkle in Time,” her biggest fear was tackling VFX. But at Saturday’s Visual Effects Society Summit at the Sofitel Hotel in Beverly Hills, DuVernay described how, as a black woman from Compton, she learned to incorporate the technical language into her storytelling arsenal.

“I pride myself as the queen of the scene in a room…I know how to make the past and the present,” said DuVernay during her keynote Q&A the day after winning a BAFTA Britannia Award. “I don’t know how to make the future — until now.”

One Step at a Time 

But when ILM visual effects supervisor Rich McBride (Oscar-nominated for “The Revenant”) broke the process down into layers, the experience became a transformation.

A Wrinkle in Time trailer

” Wrinkle in Time”

“There are pieces of the puzzle that I didn’t need to see or comment on,” added DuVernay. “I’ve been able to learn and speak to [visual effects] in a robust manner. You can create as an artist with these tools. There’s no separation. The way I’m shaping life with cinematography, I’m doing with my visual effects supervisor.”

Finding the Emotion

In adapting the 1963 novel by Madeleine L’Engle as a multi-racial adventure (starring Oprah Winfrey, Reese Witherspoon, Mindy Kaling, and Chris Pine), DuVernay defined everything by emotion, including the VFX. That required improvisation and flexibility. So no matter how much action revolved around flying planets, running and falling creatures, and tesseracting through different dimensions, the director wanted to ground it in reality.

“A Wrinkle in Time”

And once DuVernay understood the visual context of a shot, she became a VFX nerd. “This needs more texture around the edges and occlusion of light,” she said.

Shifting VFX

After a preview screening revealed a scene that was visually confusing, the director requested a VFX change. “It hit me as a whole,” DuVernay said. “This whole scene, an exterior [set], I want to take that out, put it inside [an interior digital scene], roto out the people and put them in [the other] scene.”

“A Wrinkle in Time”

Although DuVernay admitted that she might never take on another $100-million movie, she implored the VFX community to embrace diversity. “How will you treat a woman of color? Give them the tools to blossom,” she said.

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Source: IndieWire film

October 29, 2017

‘Blade Runner 2049’: How that Holographic Sex Scene Was Made Using GoPros, an iPad, and Stopwatches

Blade Runner 2049” hasn’t proven to be the moneymaker many were hoping for, but it has inspired a great deal of affection from much of its audience. Among the most talked-about moments is a sex scene involving Ryan Gosling’s Officer K, his hologram Joi (ana de Armas), and a prostitute named Mariette (Mackenzie Davis) hired to bridge the physical gap between the two would-be lovers.

The women merge in the sad, innovative scene, synchronizing their movements so as to make K feel like he’s actually with Joi. They aren’t entirely in sync, however — and, according to VFX supervisor John Nelson, the imperfection was by design.

“We’d rehearse, and then we’d shoot Mariette first, and then Denis would pick a take, then I would go through that take with the script supervisor,” Nelson tells Syfy about shooting the sequence.

“We’d use a stopwatch and time out it: ‘At two seconds in she lifts her hand. At four seconds in she touches his face. She begins to walk around at eight seconds in.’ Then I would take an iPad and I would put it in front of Ana, right in front of where Ryan is, and she would line up to get right on top of where Mariette was, line up Joi to Mariette.”

“If you’re looking at a glass and you put water into it, you see the front side of the glass but you also see the back side,” he adds. “We mapped out what that back shell would look like, as if you had a bottle that had a label on both sides. It’s as if you look through the front of the bottle and see the label on the back of the bottle, but backwards.” Read his full interview here.

Source: IndieWire film

October 29, 2017

Swedish Comedy ‘The Square’ and Gay Romance ‘God’s Own Country’ Score at Specialty Box Office

This pre-Halloween weekend, multiple specialized distributors opened and expanded significant fall season releases. Comedy “The Square” (Magnolia), this year’s top Cannes prize-winner, launched at a high level for a subtitled film on the road to national release and Oscar contention.

No other opening reached its levels. “The Novitiate” (Sony Pictures Classics) drew disappointing results. “Bill Nye: Science Guy” (PBS) showed some initial promise, while “Jane” (Abramorama/National Geographic), another documentary about a well-known scientist, primate conservationist Jane Goodall, showed strong second weekend results. A24’s “The Killing of a Sacred Deer” led second weekend expansions.


The Square (Magnolia) – Metacritic: 74; Festivals include: Cannes, Toronto 2017

$76,000 in 4 theaters; PTA (per theater average): $19,000

Ruben Ostlund’s Cannes Palme d’Or-winner, despite a 2.5 hour length, opened unusually well for a subtitled film. The Swedish Oscar entry, a comedy about the art world, opened at four prime New York/Los Angeles locations with a strong ad presence and some filmmaker appearances. A comparable release, the most recent Foreign Language Academy Award winner “The Salesman,” debuted after its nomination in January to a $24,000 PTA in one less theater. “The Square” is also outperforming Ostlund’s previous release “Force Majeure,” which opened three years ago to a total of $23,000 in two theaters.

What comes next: 11 additional theaters in the current markets and three new cities begins its expansion this Friday.


Novitiate (Sony Pictures Classics) – Metacritic: 73; Festivals include: Sundance, Toronto 2017

$22,577 in 3 theaters; PTA: $7,526

An American girl finds her decision to become a nun more complicated than expected in this 1960s drama that, despite significant marketing from SPC and favorable reviews, achieved only minor results in New York and Los Angeles.

What comes next: Chicago, San Francisco and Washington lead the list on new cities adding on this Friday.

Bill Nye: Science Guy (PBS) – Metacritic: 73; Festivals include: South by Southwest, San Francisco, Los Angeles 2017

$9,150 in 1 theater; PTA: $9.150

This documentary about America’s best known TV science expert is a respectable theatrical release for PBS before it airs on the network.

What comes next: Los Angeles is next on Nov. 10

“God’s Own Country”

God’s Own Country (Orion) – Metacritic: 84; Festivals include: Sundance, San Francisco, Seattle 2017

$16,820 in 2 theaters; PTA: $8,410; Cumulative: $22,691

The British rural gay romance opened in New York and Los Angeles to decent response with strong reviews.

What comes next: A national big city expansion is set for November.

“All I See Is You”

All I See Is You (Open Road) – Metacritic: 43; Festivals include: Toronto 2016

$135,504 in 283 theaters; PTA: $479

Marc Forster’s Toronto 2016 debut with Blake Lively and Jason Clarke (about a blind woman regaining her sight) had a limited release with few ticket buyers across big cities nationally.

What comes next: Not likely to hang around even for a second week.

Mansfield 66/67 (Filmbuff) – Festivals include: Rotterdam, Frameline 2017

$6,600 in 1 theater; PTA: $6,600

This documentary on Jayne Mansfield and her death in a car crash opened in Los Angeles, with nearly all the gross on Friday night.

What comes next: Mostly calendar dates (some less than full weeks) are scheduled around the country.

Brimstone and Glory (Oscilloscope) – Festivals include: True/False, San Francisco, Hot Docs 2017

$3,000 in 1 theater; PTA: $3,000

This documentary about fireworks and their important role in Mexican life had a minor opening in Los Angeles at one theater.

What comes next: San Francisco and Albuquerque open this Friday.

Let There Be Light (Atlas)

$1,800,000 in 373 theaters; PTA: $4,826

Sean Hannity as executive producer looks to have helped with the marketing of this fundamentalist right-wing religious drama about an atheist who discovers religion after a near-death experience. The heartland-centric results were better than most recent similar efforts with Saturday up a bit from Friday, showing more than pre-sale group interest. Actor Kevin Sorbo directed as well as acted.

What comes next: These grosses should lead to more interest and expansion.

“The Killing of a Sacred Deer”

Week Two

The Killing of a Sacred Deer (A24)

$221,552 in 33 theaters (+29); PTA: $6,713; Cumulative: $392,453

The second weekend for Yorgos Lanthimos’ latest English-language film is decent, though not at the level of “The Lobster” last year. This initially would appear to be a decent arthouse performer but not likely to have the modest crossover results of his earlier hit.

Jane (Abramorama/National Geographic)

$151,376 in 25 theaters (+22); PTA: $6,055; Cumulative: $231,504

Excellent results for the second weekend expansion of this documentary about legendary primate raiser Jane Goodall. Previously unseen recordings of her with her animals — and her romantic cinematographer–have significant appeal with likely much greater interest still to come.



Mary Cybulski

Wonderstruck (Roadside Attractions)

$126,007 in 42 theaters (+38); PTA: $3,000; Cumulative: $213,221

Despite continued good reviews, Todd Haynes’ innovative young-adult mystery is not seeing results equal to its acclaim as it quickly expanded to more big cities its second weekend. Amazon continues to provide major support, but is meeting continued resistance.

BPM (Beats Per Minute) (The Orchard)

$7,470 in 4 theaters (+2); PTA: $1,868; Cumulative: $22,914

This acclaimed French AIDS resistance group drama (the country’s Oscar submission) despite strong reviews is not finding much interest in its second weekend with San Francisco now added (Los Angeles is next this Friday).

Tragedy Girls (Gunpowder & Sky) 2-18

$12,420 in 18 theaters (+16); PTA: $690; Cumulative: $30,242

This riff on the slasher genre expanded for Halloween to minimal results.

Aida’s Secrets (Music Box)  1-10

$21,302 in 8 theaters (+7); PTA: $2,663; Cumulative: $31,494

Child holocaust survivor siblings find each other decades later in this documentary which expanded to Los Angeles and outlying New York locations its second weekend to reasonable results.

Judi Dench victoria and abdul

“Victoria and Abdul”

Screenshot/Focus Features

Ongoing/expanding (grosses over $50,000)

Victoria & Abdul (Focus) Week 6

$1,612,000 in 1,044 theaters (-16); Cumulative: $17,712,000

The winner and still champion among fall specialized releases, this Judi Dench starrer is now Focus’ biggest limited release since “The Theory of Everything” three years ago.

Marshall (Open Road) Week 3

$921,369 in 821 theaters (no change); Cumulative: $6,966,000

The wide release for this biopic on the early career of the Supreme Court Justice is holding on to current theaters but with continued minor response.

"The Florida Project"

“The Florida Project”


The Florida Project (A24) Week 4

$539,234 in 145 theaters (+33); Cumulative: $2,149,000

Sean Baker’s acclaimed American independent film continues to see robust results as it quickly expands. The grosses continue to be less than A24’s breakout “Moonlight” last year (which saw a similar release pattern), but that was not a typical release. This looks to be headed to a gross considerably higher and one of the better specialized releases of the year.

Loving Vincent (Good Deed) Week 6

$449,453 in 160 theaters (+46); Cumulative: $2,108,000

This unexpected fall sleeper, which animates in the style of Van Gogh’s paintings, is an exception to the failure of many biographical films this season. It continues to see above-average per-theater grosses and already has passed $2 million with likely significantly more to come.

Goodbye Christopher Robin (Fox Searchlight) Week 3

$330,000 in 213 theaters (+152); Cumulative: $633,036

The third weekend for this biofilm about writer A.A. Milne and his son continues to see weak response as it quickly expands.

Battle of the Sexes (Fox Searchlight) Week 6

$310,000 in 291 theaters (-254); Cumulative: $12,010,000

The Emma Stone/Steve Carell recreation of the famous woman vs. man tennis match continues its run with some remaining interest even if it never reached expected levels.

Mark Felt: The Man Who Brought Down the White House (Sony Pictures Classics) Week 5

$94,816 in 185 theaters (-147); Cumulative: $665,000

SPC as usual maximizes the playoff of its latest film, about the key Watergate leaker, even though the interest has been minimal with its ultimate gross likely to fall short of $1 million.

Lucky (Magnolia) Week 5

$(est.) 75,000 in 81 theaters (-30); Cumulative: $(est.) 683,000

Harry Dean Stanton’s final lead performance continues to be the draw as this release continues with modest results.

“Faces Places”

Faces Places (Cohen) Week 4

$72,960 in 42 theaters (+16); Cumulative: $269,382

Upcoming Honorary Oscar winner Agnes Varda’s likely final film, a personal documentary and road movie in and around France, continues its respectable arthouse run with new reviews keeping its Metacritic score of 95 ahead of any 2017 release so far.

Human Flow (Magnolia) Week 3

$61,000 in 36 theaters (+7); Cumulative: $272,064

Chinese artist Ai Weiwei’s documentary about refugees around the world continues its major market expansion with modest results and ongoing positive reviews.

Professor Marston & the Wonder Woman (Annapurna) – Week 3

$53,500 in 181 theaters (-778); Cumulative: $1,526,000

A quick end for the surprisingly wide run for this biofilm about the kinky life of the man who created the comic book figure.

Breathe (Bleecker Street) Week 3

$51,652 in 148 theaters (-167); Cumulative: $378,931

A fadeout as well for this Toronto premiered story of a real couple who overcome physical restrictions to travel the world.

Also noted:

Wind River (Weinstein) – $29,697 in 80 theaters; Cumulative: $33,620,000

Columbus (Superlative) – $11,490 in 18 theaters; Cumulative: $989,139

Dina (The Orchard) – $10,628 in 19 theaters; Cumulative: $59,681


Source: IndieWire film

October 29, 2017

Donald Trump Tweets About Michael Moore’s ‘Total Bomb’ Broadway Show; Moore’s Response Holds Nothing Back

With the news that Robert Mueller’s ongoing investigation has yielded its first charges and someone may be arrested as early as Monday, Donald Trump is once again focusing on the important things: Michael Moore’s Broadway show. “While not at all presidential I must point out that the Sloppy Michael Moore Show on Broadway was a TOTAL BOMB and was forced to close. Sad!” he tweeted; those first five words may be the most self-aware thing he’s ever written.

Moore responded hours later: “You must have my smash hit of a Broadway show confused with your presidency– which IS a total bomb and WILL indeed close early. NOT SAD.” He then pointed out that a U.S. service member had been killed in Afghanistan yesterday, accusing Trump of not even being aware of this latest casualty; Moore also referred to Mueller’s grand jury and the aftermath of Hurricane Maria in Puerto Rico.

Moore’s one-man show, “The Terms of My Surrender,” officially opened on August 10 and was advertised as a 12-week engagement from the outset — which is to say, it completed its scheduled run. Moore won an Academy Award for his documentary “Bowling for Columbine,” while Trump once used a presidential debate as an opportunity to complain about “The Apprentice” never winning an Emmy.

Source: IndieWire film

October 29, 2017

Streamline Your Editing Workflow with These 5 Helpful Tips

If you want to cut down on your editing time, try using one (or all) of these editing tips.

Since editing a project from start to finish takes absolutely forever, knowing clever ways to speed up your workflow is an absolute necessity for editors. There are countless methods and techniques that will shave minutes, hours, and even days off of your total editing time, but here are a few to get you started. In this video from Pond5, learn how organization, proxy files, and master clip effects can save you tons of time when you head into post.

Here are the tips from the video:

  • Organize from the start
  • Set your defaults
  • Use proxy files
  • Conform your media
  • Use master clip effects

Though all of these suggestions are great and will most definitely save you some time in post, perhaps one of the most critical things to get in the habit of doing is staying organized in both your physical and digital workspace. It’s not only crucial for efficiency, but for accuracy as well because, without well-managed files and folders, important media could will get lost in the shuffle easily.

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Source: NoFilmSchool

October 28, 2017

Horror movies don’t scare you? See if you can handle these VR freak-outs

Just in time for Halloween, Digital Trends has compiled a list of the scariest virtual reality experiences you can immerse yourself in. You will be looking for the boogeyman and trying to stay calm underwater in these horrifying VR experiences.

The post Horror movies don’t scare you? See if you can handle these VR freak-outs appeared first on Digital Trends.

Source: Digital Trends VR