• Background Image

    News & Updates

January 16, 2018

Forgotten Temple Illustration by Rui Gonçalves

Forgotten Temple Illustration by Rui Gonçalves

Let’s take a look at this rather cool illustration by art director/graphic designer Rui Gonçalves. Based in Barcelona, Spain, Rui is a true passion when it comes to graphic design and also art direction. Judging by his Behance Profile, ideas and concepts seems to be his forté. Today we are a case study at the Forgotten Temple Illustration, a commission project ended up being a personal experimentation. My favourite part of this illustration is the layers of details from what’s underneath the sea, the dinosaur fossil is quite a nice touch. This illustration also reminds me of his Everything is okay, until it’s not. project that we have featured on ABDZ.

What started as a commission ended in a personal project. I wanted to push my isometric illustration skills a bit more so i decided to turn this idea, which originally was designed for a client, into a personal project – “Forgotten Temple”. Hope you guys like it!

More Links

Illustration & Process

Forgotten Temple Illustration by Rui GonçalvesForgotten Temple Illustration by Rui Gonçalves


Quick Process

Jan 16, 2018

Source: Abduzeedo Illustration

January 14, 2018

Oprah Discusses Time’s Up With Natalie Portman, Reese Witherspoon, Tracee Ellis Ross, and More — Watch

A week after her show-stopping Golden Globes speech, Oprah Winfrey was back on TV this morning to talk about one of the other most notable presences at the ceremony: Time’s Up. She was joined by Reese Witherspoon, America Ferrera, Natalie Portman, Kathleen Kennedy, Shonda Rhimes, and Tracee Ellis Ross on CBS Sunday Morning to discuss the initiative, whose legal defense fund just received a $1.5 million donation in Michelle Williams’ name following the controversy over Mark Wahlberg’s salary for “All the Money in the World” reshoots.

More than 300 women are taking part in Time’s Up, which led Winfrey to an obvious question: Does it have a leader?

“Who is the head of the group? And is it an organization? A movement?” Winfrey asked. “Black-ish” star Tracee Ellis Ross responded, “At this moment it’s a campaign. And we’re all sort of workers among workers and women among women, sort of rolling up our sleeves and doing whatever sort of comes to the forefront.”

Ross also touched on the fact that she still finds it difficult to speak up about these issues. “The thing that’s always surprising to me: I am a strong, outspoken, powerful woman, and there are places and ways and times that I am even afraid to speak up. There are environments that we all work in that support a culture of harassment or a culture of any of those things.”

Time’s Up isn’t just concerned with Hollywood, but rather female workers in nearly every other industry who have faced sexual harassment and worse. “You know, we have public voices,” Witherspoon said. “We have resources. But women who are workers in this country have nothing to gain in certain instances by coming forward. But we want to help.”

Witherspoon also quoted Elie Wiesel: “Silence helps the tormentors; it doesn’t help the tormented. And neutrality helps the oppressors.” Watch their discussion below.

Source: IndieWire film

January 14, 2018

‘Paddington 2’ Is Giving ‘Lady Bird’ a Run for Its Money on Rotten Tomatoes

For a few weeks last year, “Lady Bird” set a record. Greta Gerwig’s coming-of-age drama maintained its 100% “fresh” rating on Rotten Tomatoes with 196 positive reviews, making it the best-reviewed movie in the website’s history; when a lone dissenter finally came along, that record reverted back to “Toy Story 2.” With 149 reviews, all of them positive, the animated “Paddington 2” is now closing in on that same mark.

“Toy Story 2” has 163 reviews to its name, meaning Paul King’s sequel will surpass it if 15 more positive notices come along. That isn’t too unlikely, as nearly everyone who’s seen the movie echoes IndieWire’s Kate Erbland, who calls “Paddington 2” “the rare sequel that improves upon the original, and in turn makes the still rarer case for a franchise to continue on as long as it possibly can.”

Ben Whishaw once again voices the beloved bear, a staple of children’s literature for more than half a century; Sally Hawkins, Hugh Bonneville, Brendan Gleeson, Julie Waters, Jim Broadbent, and Hugh Grant all co-star in the film.

Source: IndieWire film

January 14, 2018

Oscar Contenders Dominate Robust Specialty Box Office

Led by an expansion of “The Post” (20th Century Fox), Oscar contenders grossed a combined $40 million-plus this weekend. This continues to be a high-end year for awards hopefuls, as six have already topped $10 million and four have passed the $20-million mark.

This compares well to recent years when titles like “Whiplash,” “Foxcatcher,” “The Danish Girl” and “Room” never reached those highs despite their strong awards presence. This year Amazon’s Sundance buy “The Big Sick” followed “Manchester by the Sea” as a robust awards contender, which could yield elevated acquisitions bidding at the upcoming Sundance Film Festival.

With such a crowded field of established titles, new openings faced intense competition. Lebanese Oscar contender “The Insult” (Cohen) led the field of openers, which all grossed under $10,000 per theater in initial dates.


The Insult (Cohen) – Metacritic: 71; Festivals include: Venice, Telluride, Toronto, AFI 2017

$24,957 in 3 theaters; PTA (per theater average): $8,319

This Lebanese courtroom drama is one of the nine shortlisted Oscar Foreign Language submissions, and the last of the group to open. Its date was advanced in order to land an opening at soon-to-shutter Lincoln Plaza Theater, which is usually the top New York theater for similar subtitled films. Its initial dates also included Los Angeles, with the usual muted response for subtitled films these days (but more than double the numbers for German contender “In the Fade” two weeks ago).

What comes next: Irrespective of whether it makes the final five, this is expected to expand to top cities over the next few weeks.

Lover for a Day

“Lover for a Day”


Lover for a Day (MUBI) – Metacritic: 68; Festivals include: Cannes, New York 2017

$(est.) 7,500 in 1 theater; PTA: $(est.) 7,500

Veteran French director Philippe Garrell’s black-and-white romantic drama about an older man dealing with a 23-year-old girlfriend who is the same age as his a daughter. The film opened with an exclusive date at New York’s Film Society of Lincoln Center with a respectable initial response.

What comes next: Los Angeles opens on Jan. 26 with other big city dates to follow.

Vazante (Music Box) – Metacritic: 64; Festivals include: Berlin 2017

$3,511 in 1 theater; PTA: $3,511

This black-and-white drama set in the early 19th-century slave era in Brazil opened in one Manhattan theater to minor initial results.

What comes next: Los Angeles, San Francisco and Washington open by the end of the month.

Also available on Video on Demand:

Saturday Church (Goldwyn/Tribeca 2017) – $(est.) 7,000 in 2 theaters

Freak Show (IFC/Berlin 2017) – $6,024 in 1 theater

“The Post”

Courtesy of 20th Century Fox

Ongoing/expanding (grosses over $50,000)

The Post (20th Century Fox) Week 4

$18,600,000 in 2,819 theaters (+2,793); Cumulative: $23,089,000

While it hardly feels like a specialty film, Steven Spielberg’s newspaper drama “The Post” is acting like one with its adult appeal, initial platform dates and awards pursuit. Its gross is about $4 million less than the successful “Hidden Figures” last year when it expanded post-Christmas, though much below similar patterns for earlier-year openings “American Sniper” and “The Revenant.” The movie scored #2 overall this weekend, the best of the new wide-release titles despite heavy competition from similar adult titles. It performed $3 million better than Spielberg’s last historical drama, “Bridge of Spies” which went wide from the start, boasting a nearly five times multiple as a fall release. This could get a welcome push from Oscar nominations, boosting its its business at a crucial time.

Darkest Hour (Focus) Week 8

$4,525,000 in 1,693 theaters (-40); Cumulative: $35,738,000

Still flying high, this Churchill 1940 historical drama has hit its marks at every step of its release so far. It dropped only 25 per cent this weekend, and it’s set to compete with “The Shape of Water” and “Lady Bird” at the high end of specialized non-studio awards releases.

Molly’s Game (STX) Week 3

$3,885,000 in 1,708 theaters (+100); Cumulative: $20,715,000

Aaron Sorkin’s retelling of a ski Olympian who found herself running high stakes poker games didn’t have the hold that many other recent adult-aimed films are finding. It dropped 43 per cent this weekend; its quick wider run has already pushed it past $20 million. Its future in a very competitive market will be effected by how well it fares with nominations.

I, Tonya

Courtesy of NEON

I, Tonya (Neon) Week 6

$3,302,000 in 517 theaters (+261); Cumulative: $10,001,000

Neon’s first major hit is still early in its run and looks positioned to place among the better awards-enhanced titles. Its wider break is timed for January 23 nominations, with signs of significant crossover interest. This has already grossed more than all Neon’s previous releases combined — not bad for a film they acquired less than five months ago.

The Shape of Water (Fox Searchlight) Week 7

$2,700,000 in 723 theaters (-81); Cumulative: $26,421,000

Holding very well (this PTA is actually about the same as last week), Guillermo del Toro’s 1960s science-fiction romance has yet to get to over 1,000 theaters. That comes soon, with a terrific total so far suggesting that its total might as much as double with expected Oscar attention.

“Three Billboards Outside Ebbing, Missouri”

Three Billboards Outside of Ebbing, Missouri (Fox Searchlight) Week 10

$2,300,000 in 1,022 theaters (+712); Cumulative: $28,509,000

Searchlight is balancing two films competing for many of the same screens, and in this case returning again to over 1,000 theaters (it had been over 1,600 earlier) after recent awards wins. And that’s before the nominations arrive to boost it more.

Lady Bird (A24) Week 11

$1,686,000 in 652 theaters (+90); Cumulative: $36,902,000

Not quite back up to its likely wider break when the Oscar nominations come, Greta Gerwig’s breakout hit shows every sign of getting to $50 million or more.

Phantom Thread (Focus) Week 3

$1,145,000 in 62 theaters (+56); Cumulative: $2,227,000

In its first expansion, Paul Thomas Anderson’s 1950s London set fashion story has a good PTA of over $18,000. That’s not that far below what “The Shape of Water” grossed when it first added new cities. Anderson has a strong base of support, so these numbers aren’t surprising with reviews in new cities still propelling this ahead of most other recent releases. This will have a measured expansion ahead parallel to expected Oscar attention.

“Call Me By Your Name”

Sony Pictures Classics

Call Me By Your Name (Sony Pictures Classics) Week 8

$715,559 in 174 theaters (+57); Cumulative: $7,231,000

Luca Guadagnino’s highly acclaimed 1980s romance scored decent numbers as it readies for wider release starting this Friday. This is already SPC’s biggest-grossing film in two years, and looks likely to top any of their films since “Blue Jasmine” in 2013.

The Disaster Artist (A24) Week 7

$448,475 in 371 theaters (-107); Cumulative: $20,312,000

James Franco’s award-winning portrayal is still in play, with most of its gross in after an aggressive early push.

Hostiles (Entertainment Studios) Week 4

$276,000 in 42 theaters (-4); Cumulative: $821,468

Continued support for this Christian Bale western pays off as grosses remain consistent if not high end in advance of its national break this Friday.

The Florida Project (A24) Week 14

$51,100 in 51 theaters (+14); Cumulative: $5,499,000

Sean Baker’s Orlando childs’ world drama continues to add to its total later in the run.

“Film Stars Don’t Die in Liverpool”

Also noted:

Film Stars Don’t Die in Liverpool (Sony Pictures Classics) – $33,322 in 9 theaters; Cumulative: $130,438

Happy End (Sony Pictures Classics) – $24,590 in 11 theaters; Cumulative: $118,085

In the Fade (Magnolia) – (est.) 16,000 in 9 theaters; Cumulative: $(est.) 66,000

Jane (Abramorama) –  $19,239 in 18 theaters; Cumulative: $1,588,000

Faces Places (Cohen) – $9,327 in 8 theaters; Cumulative: $670,448

Source: IndieWire film

January 14, 2018

‘Early Man’ Review: Nick Park’s Stop-Motion Marvel Is More Advanced Than Its Primitive Protagonists

With all due respect to Pixar and Studio Ghibli, can we start acknowledging Nick Park and Aardman Animations as the innovators they are? Those who’ve seen the “Wallace & Gromit” shorts and 2005 movie tend to love them, but the studio responsible for that iconic duo doesn’t get a fraction of the acclaim. Maybe it’s because the British studio has never been especially prolific, but with “Early Man,” its first feature film since 2015’s delightful “Shaun the Sheep Movie,” Aardman once again reminds viewers that its stop-motion creations are consistently joyous spectacles.

Beginning, as it must, with a primordial prologue about the asteroid that wiped out the dinosaurs — just as it strikes, two dinos who were fighting moments before embrace in fear — the film concerns a tribe of well-meaning cavemen whose happy existence is disrupted by the arrival of civilization: Bronze Age intruders show up one day, there to turn their communal cave into a mine so that Lord Nooth (Tom Hiddleston) can maintain his lavish lifestyle.

Park, a four-time Oscar winner who created Wallace & Gromit 30 years ago, is stepping into the director’s chair for the first time since 2008’s “A Matter of Loaf and Death” short. He hasn’t lost his step, with his latest fictional world being both a departure from, and continuation of, his usual settings. At the center of it is Dug (Eddie Redmayne), Park’s latest affable protagonist whose good nature can’t stop him from getting into increasingly ridiculous situations.

He and his cohort live in the crater left by the asteroid’s impact, which has grown lush and verdant in the centuries since it struck; the human price of progress was steep even then, as stone gave way to bronze and left the primitives in its wake.

Park fashions this inevitability something akin to Mordor encroaching on the Shire: industry subsuming an old idyllic world. If that setup sounds too Luddite-friendly, it’s also quite funny: Dug is among the smartest of his tribe, which is led by the very old (read: 31) Chief Bobnar (Timothy Spall), includes a rock with a face painted on it and a pig named Hognob (voiced by Park himself). He feels like a Gromit stand-in and, though not as memorable a companion, is still good for some laughs.

Early Man

Under Nooth’s yoke, warring tribes settle their differences on the soccer pitch rather than the battlefield; England’s national team may be underachievers in the 21st century, but their predecessors in Real Bronzio were a dominant force to be reckoned with. And so it is that “Early Man” turns into a sports comedy of sorts, one in which the motley crew of good guys must somehow overcome an imposing squad that is in every way their better.

That’s especially difficult when Dug’s tribe is exiled to the Badlands, where they’re besieged by giant mallards, harsh conditions, and a paucity of the rabbits they used to depend on. Their temporary home proves the ideal training ground, however, its cruel landscape and craggy formations making formidable obstacles that do a right proper job of preparing the underdogs for their big match.

As ever with Aardman, the cleverest moments are also the most fleeting. Lord Nooth can be spotted reading a newspaper called the Prehistoric Times; a woman seeing sliced bread for the first time exclaims, “Wow! That’s the greatest thing since, well, ever.” The narrative as a whole is familiar, if not overly so, and after the Silent Era gags of “Shaun the Sheep Movie” it sometimes feels like “Early Man” could have gone further and been similarly ambitious.

What really gives our heroes a potential upper hand can be best described by a scene from, of all things, Carlos Reygadas’ “Post Tenebras Lux.” Assembled on a rainy field, a rugby team huddles as their leader explains the key to victory: “They’ve got individuals; we’ve got a team.” That isn’t an uncommon message in an animated movie aimed toward kids, but it is a worthy thematic bedrock.

Grade: B

“Early Man” opens in wide release on February 16.

Source: IndieWire film

January 14, 2018

Need to Get Some Overhead Shots? Here’s a DIY Rig That Is Simple and Adjustable

Overhead rigs can be kind of complicated to set up, but this one only requires a couple of things you probably have in your studio.

One of my favorite shots is the overhead. It’s stylish and fun and offers a unique point of view if you want to add a little flair to your cinematography. However, putting together a rig that lets you get these types of shots can be a bit of a pain, especially since most of the time you’re trying to find tools around your house or studio that can somehow fit together to accommodate your camera. But if you’ve got a C-stand, a spigot, and a tripod head lying around you can very quickly put one of these rigs together, and filmmaker Peter McKinnon shows you how to do it in the tutorial below.

Read More

Source: NoFilmSchool

January 13, 2018

Watch: Tips on Shooting in Tight Spaces to Get Creative Shots

Want to capture a unique angle or perspective? Then you’ll have to get creative with camera placement.

In filmmaking, coverage is pretty straightforward. You’ve got your standard shots, like wides, mids, and close-ups, your over-the-shoulders, two-shots, and dollies, but occasionally it necessary to throw in something creative to give your audience something new and interesting to look at. You can do this a number of ways, but one that is definitely worth mentioning is by shooting these kinds of shots from a unique perspective.

In this video, Jay P. Morgan from The Slanted Lens goes over some tips on how to approach camera placement more creatively, how to set up shots in weird, often small or tight spaces, as well as how to go about lighting these peculiar shots. Check it out below:

Read More

Source: NoFilmSchool

January 13, 2018

Stunt Coordinator Joel Kramer Denies Molesting Eliza Dushku: ‘These Are Absolute Lies’

Joel Kramer denies that he sexually assaulted Eliza Dushku. Speaking to TheWrap, the stunt coordinator — whom Dushku accused of molesting her during the filming of “True Lies,” when she was 12 and he was 36 — said, “Wow. That’s news to me. I never sexually assaulted her. She’s a sweet girl. We all looked out for her, that’s surprising.”

“I’m just shocked,” he added. “I don’t know why she would say that. We took her out to dinner and we took her to our hotel for a swim at the pool.” In a Facebook post published this morning, Dushku wrote that Kramer “laid me down on the bed, wrapped me with his gigantic writhing body, and rubbed all over me” in a hotel room.

“These are absolute lies,” Kramer said of her allegations. “She said I took her home in a cab? I was the one who was driving the car. There were four or five of us in the car. I’m absolutely floored,” he said. “I don’t know what to say. I Never took her to my hotel room. I never took off her clothes.”

Kramer has been active in the film industry for decades, most recently working on films like “Blade Runner 2049,” “The Conjuring 2,” and “Fast 7.”

Source: IndieWire film

January 13, 2018

The big PC trends from CES: Intel befriends AMD, monitors get massive, and more

The trends we saw from the show floor at CES 2018 have us both curious and excited about the future of computing. Some will undoubtedly end up in dead ends — and others will probably become the new status quo in just a few years.

The post The big PC trends from CES: Intel befriends AMD, monitors get massive, and more appeared first on Digital Trends.

Source: Digital Trends VR

January 13, 2018

‘You gotta be patient.’ Why HTC keeps pushing VR forward, and what’s next

We sit down with an executive from HTC to talk all things Vive Pro — the controllers, the headphones, and taking VR to the next level. We even touched on the future of the stand-alone Vive Focus, which hasn’t been released in North America yet.

The post ‘You gotta be patient.’ Why HTC keeps pushing VR forward, and what’s next appeared first on Digital Trends.

Source: Digital Trends VR