• Background Image

    News & Updates

February 28, 2018

HTC’s Vive Focus mobile VR headset uses the same lenses, displays as Vive Pro

A recent hands-on report reveals that HTC’s Vive Focus mobile VR headset uses the same lenses and screens as the Vive Pro headset for PC. Currently, the stand-alone headset is sold only in China as a “premium” mobile VR option.

The post HTC’s Vive Focus mobile VR headset uses the same lenses, displays as Vive Pro appeared first on Digital Trends.

Source: Digital Trends VR

February 28, 2018

Goodbye, Bay Area! Thank You for a Decade of Partnership.

This month, we are ending our operations in San Francisco.

StoryCorps has had a footprint in the Bay Area for nine years, recording nearly 6,000 interviews and working with a range of community partners who have connected us to dynamic communities in the greater Bay Area and region.

Starting in 2009, the Contemporary Jewish Museum housed our StoryBooth. In 2014, it was moved to the San Francisco Public Library.

Over the last four years, community organizations and members of the public have come to the library to have intimate conversations with loved ones. In addition, our San Francisco-based team has traveled extensively to partner with organizations and groups in the region and record stories of people of all backgrounds.

Listen to a special collection of San Francisco stories here.

We are very grateful to our community and regional partners who have entrusted us with their stories, as well as to the San Francisco Public Library, our San Francisco-based funders, our local station partner KALW, and the many Bay Area participants who have shared their stories with us.

StoryCorps has recording booths in Atlanta, housed at the Atlanta History Center with WABE as our local station partner; Chicago, located at the Chicago Cultural Center with WBEZ as our local station partner; and in New York City. It also has a mobile recording booth that travels the United States while recording the stories of everyday people.

While our permanent location in San Francisco will no longer be open, StoryCorps works with groups and organizations in other ways:

•  You can record anywhere with the StoryCorps AppContact us for advice on how to incorporate the app into your community events and activities.

•  Make plans to visit our StoryBooth locations in Chicago and Atlanta, where you can record in a recording booth and have your interview added to the Library of Congress.

•  Meet us on the road! Our Mobile Tour continues to travel the country and might be visiting a city near you in 2018.

Source: SNPR Story Corps

February 28, 2018

Elegant Editorial Design Project: Cities and Names

Elegant Editorial Design Project: Cities and Names

Anastasia Genkina is a designer from Moscow, Russia and she share a quite elegant typography and editorial design on her Behance profile. It was created by students during the Editorial Design course at the Porto Design Summer School. We always love and support these types of projects. Make sure to check it out after the break.

The five chapters from Italo Calvino`s Invisible Cities — a part of the collaborative project made by the students during Editorial course at Porto Design Summer School. Supervised by Hamish Muir, Andrew Howard, Catherine Griffiths and David Pearson. – Typeset in Sectra and Walsheim by Grilli

Editorial Design

Feb 28, 2018

Source: Abduzeedo Editorial Design

February 28, 2018

Take a hike, Alexa: Wendy’s a beautiful digital human ready to be your friend

The next generation of virtual assistants could look, sound, and act like real people. SK Telecom’s HoloBox is home to Wendy, a digital human created in painstaking detail to help overcome our fear of living with a virtual companion.

The post Take a hike, Alexa: Wendy’s a beautiful digital human ready to be your friend appeared first on Digital Trends.

Source: Digital Trends VR

February 27, 2018

Digital Photography: Neon Night Series by Local Preacher

Digital Photography: Neon Night Series by Local Preacher

We would love to share the work of Local Preacher who is an artist and photographer based in Sochi, Russian Federation. We have featured his “Wet Neon” series on the Daily Design Inspirations. He is now back with a proper feature and we are featuring his series entitled: “Neon Night” and the colours are just stunning. A combination with Photoshop and shot on Canon Eos 600D; this is really taking you back to that 80s vibe.


More Links

Digital Photography

Digital Photography: Neon Night Series by Local PreacherDigital Photography: Neon Night Series by Local PreacherDigital Photography: Neon Night Series by Local PreacherDigital Photography: Neon Night Series by Local PreacherDigital Photography: Neon Night Series by Local PreacherDigital Photography: Neon Night Series by Local PreacherDigital Photography: Neon Night Series by Local PreacherDigital Photography: Neon Night Series by Local PreacherDigital Photography: Neon Night Series by Local PreacherDigital Photography: Neon Night Series by Local PreacherDigital Photography: Neon Night Series by Local Preacher


Feb 27, 2018

Source: Abduzeedo Photography

February 27, 2018

Art Direction: Nike RT Illustration

Art Direction: Nike RT Illustration

Let us share this beautiful collaboration for a series of an illustration entitled: Nike RT. Obviously, for NikeLab Dunk x RT Launch, they worked at creating the iconic sneaker model. With a mixture of different mediums like Photoshop, Luxology Modo, Blender 3D, Maxon Cinema 4D, and Octane. To give a shout to some of the credits, the direction was done by Ditroit. Art direction by Salvatore Giunta, Pietro Furbatto, and design by Salvatore Giunta, Cristian Acquaro, Pietro Furbatto. For anyone who appreciates the brand Nike, you will love this series!

On the occasion of the NikeLab Dunk Lux x RT launch, we recreated this iconic sneaker model using distinguishing elements of contemporary pop culture, hence marking the undeniable bond between sports and the high-end street style of Riccardo Tisci. These visual reproductions were featured in “We believe in the power of love” – a short movie shot by Luca Finotti during the Dunk Lux campaign.


  • Direction: Ditroit
  • Art Direction: Salvatore Giunta, Pietro Furbatto
  • Design: Salvatore Giunta, Cristian Acquaro, Pietro Furbatto
  • Modeling: Giovanni Mauro, Riccardo Bancone
  • Lighting and Shading: Claudio Gasparollo
  • Producer: Ada Korvafaj
  • Director & Art Director: Luca Finotti
  • Production Company: Section80
  • Producer: Luca Degani

More Links

Art Direction & Illustration

Art Direction: Nike RT IllustrationArt Direction: Nike RT IllustrationArt Direction: Nike RT IllustrationArt Direction: Nike RT IllustrationArt Direction: Nike RT IllustrationArt Direction: Nike RT IllustrationArt Direction: Nike RT IllustrationArt Direction: Nike RT IllustrationArt Direction: Nike RT IllustrationArt Direction: Nike RT IllustrationArt Direction: Nike RT IllustrationArt Direction: Nike RT Illustration


Feb 27, 2018

Source: Abduzeedo Illustration

February 26, 2018

Incredible Digital Art Work of Bastien Grivet

Incredible Digital Art Work of Bastien Grivet

Bastien Grivet is a Swiss Art Director, Concept Artist, Matte Painter & Composer based in Montpellier, France. He has an incredible portfolio featuring different styles with one thing in common, they are all top-notch in terms of quality. Personally, because, of my fascination with light effects I tend to prefer anything that has a neon light effect. For this post I focused on a few projects exemplifying Bastien’s incredible digital art work.

Digital art


Feb 26, 2018

Source: Abduzeedo Illustration

February 25, 2018

Alejandro González Iñárritu Thinks the ‘Last Men in Aleppo’ Crew Should ‘Absolutely’ Be Allowed to Attend the Oscars — Watch

Alejandro González Iñárritu is one of only three filmmakers to win the Academy Award for Best Director two years in a row, which is to say he knows a good deal about attending the actual ceremony. And though he isn’t the type of celebrity you expect TMZ to ambush at the airport with timely questions, he was nevertheless asked his opinion on the Oscar-nominated “Last Men in Aleppo” crew being denied visas to make their way to next week’s ceremony — and thinks they “absolutely” should be allowed to.

“I didn’t know that. It’s insane,” a clearly surprised Iñárritu says when first asked about the situation. “Absolutely, I think so — unless the directors are considered criminals,” which they’re not. Syria will not expedite the travel visas of producer Kareem Abeed and star Mahmoud Al-Hattar, making it extremely unlikely they’ll be able to attend. “When we are banned, then the freedom of expression is banned,” the film’s director, Feras Fayyad, recently told IndieWire, referring to the situation as “very sad and unfair.”

Fayyad has also said that he may skip the Oscars in solidarity with Abeed and Al-Hattar.

Source: IndieWire film

February 25, 2018

What Is the John C. Reilly Award, and How Did Michael Stuhlbarg Just Become the First Person to Win It in 15 Years?

John C. Reilly did something exceedingly rare back in 2002: appeared in three different Best Picture nominees. His roles in “Gangs of New York,” “Chicago,” and “The Hours” — all of which premiered within a week of each other — are now the basis for what FiveThirtyEight has appropriately dubbed the John C. Reilly Award, which is “figuratively bestowed on the actor who appears in the most best picture nominees in a single year, with a minimum of three required for consideration.”

This year’s winner — and, in fact, the first one since Reilly himself — is none other than Michael Stuhlbarg.

The oft-snubbed actor had supporting roles in “The Post,” “The Shape of Water,” and “Call Me by Your Name”; he was considered a potential Best Supporting Actor nominee for his lovely performance in Luca Guadagnino’s romantic drama, but those dreams, unfortunately, went the way of first love.

Prior to Reilly, no one had done this since the 1940s. Curiously, it wasn’t an especially rare feat back then — 11 people did it between 1935 and 1943. Only two of them were women.

John C. Reilly Award

The John C. Reilly Award


FiveThirtyEight also compiled data on the actors to appear in the most Best Picture nominees throughout their career, with Jack Nicholson taking first place (10) and Tom Hanks close behind him (9). Peruse the full data set here.

Source: IndieWire film

February 25, 2018

Specialty Box Office Lags as Oscar Season Plays Out and Streaming Surges

Looking at the full-page movie ads in the Sunday The New York Times, one might think the upcoming movies are “Phantom Thread,” “Dunkirk,” and “Darkest Hour.” Nearly all the Arts & Leisure film ads were for Oscar contenders.

That’s where the specialized market finds itself after a successful four-month awards season. But those films, many of which are already streaming, are played out with not much gas left in the tank.

What will fill that void? So far, apart from some late-breaking modest foreign-language Oscar contenders (all lagging behind their predecessors) and minor initial interest in Sally Potter’s British import “The Party” (Roadside Attractions), now in its second week, the cupboards are bare. It looks like trouble at the arthouses until some fresh product opens and hopefully clicks.

Young Karl Marx” (The Orchard) had a credible two-city debut this week, which is a positive sign. But it isn’t the movie to lead a recovery nationwide for core theaters.

The main way to view new releases like Duncan Jones’ “Mute” (Netflix)  is on streaming venues. At least nine films debuting on Friday got reviews in at least one major coastal newspaper of record, including the “Moon” director’s latest (which also had limited theatrical play, with grosses unreported).

The Best Picture contenders got a welcome — if temporary–boost (in many cases an increase in theaters) from some marathon packages at some theaters.


Young Karl Marx (The Orchard) – Metacritic: 63; Festivals include: Berlin, Seattle 2017

$28,599 in 3 theaters; PTA (per theater average): $9,533

Not the most likely biopic subject to get a lot of arthouse interest, “I Am Not Your Negro” director Raoul Peck’s retelling of the early adulthood of the Communist theorist in mid-19th century Europe got a decent response in its initial New York/Los Angeles dates. This is one of the first releases to see the impact of the loss of the Lincoln Plaza Theater. Had it played there (it showed nowhere in uptown Manhattan) that would likely have been the top gross. This scored slightly favorable initial reviews, which makes the response more impressive.

What comes next: This has planned large city openings ahead.

November (Oscilloscope) – Metacritic: 79; Festivals include: Tribeca 2017

$4,300 in 1 theater; PTA: $4,300

This Estonian 19th-century fantasy film with decent reviews scored an adequate gross for the Village East, a second-tier Manhattan exclusive theater.

What comes next: Los Angeles opens this Friday with other big cities ahead.

Also available on Video on Demand:

The Cure (IFC/Toronto 2017) – $5,332 in 3 theaters

lamant double lover

“Double Lover”

Week Two

Double Lover (Cohen)  51/119

$139,869 in 22 theaters (-29); PTA: $971; Cumulative: $139,869

A majority of the theaters in Cohen’s unusually wide initial release for a subtitled art film dropped the movie after week one. The ones that remained for Francois Ozon’s edgy romantic drama limped along with a minor gross.

The Party (Roadside Attractions)  3/53

$100,715 in 30 theaters (+27); PTA: $3,357; Cumulative: $154,186

Sally Potter’s short black and white British ensemble comedy performed better in its expansion than other recent films. These aren’t particularly strong numbers, but are better than just about any other widening specialized release in the first two months of 2017.

Nostalgia (Bleecker Street)

$15,510 in 16 theaters (+13); PTA: $969; Cumulative: $35,248

A disastrous second-week big-city expansion for this high-end ensemble cast drama. The downbeat nature of a fire’s survivors poring over their lost belongings received similar mixed to negative response from critics as it expanded to its initial reviews.

Ongoing/expanding (Grosses over $50,000)

Three Billboard Outside of Ebbing, Missouri (Fox Searchlight) Week 16; also streaming

$1,225,000 in 691 theaters (-89); Cumulative: $50,128,000

This weekend, with fewer theaters than either “The Post” or “The Shape of Water,” it outpaced its two Oscar rivals — despite being the only movie already available at home.

The Post (20th Century Fox) Week 10

$1,200,000 in 795 theaters (-255); Cumulative: $78,848,000

Though it only received two top category nominations, Steven Spielberg’s latest still got a major boost from them, helping the movie to sustain a much longer run. It likely has only one more week of note left, but it will get it to $80 million, the best for any of the director’s films since “Lincoln.”

"The Shape of Water"

“The Shape of Water”

The Shape of Water (Fox Searchlight) Week 13

$1,115,000 in 721 theaters (-236); Cumulative: $55,301,000

Along with “Three Billboards,” this other strong Searchlight title continues to ride the Oscar wave, now ahead of all other 2017 specialized releases.

Darkest Hour (Focus) Week 14; also streaming

$775,000 in 795 theaters (+193); Cumulative: $54,495,000

Decent performance in context of parallel streaming.

Lady Bird (A24) Week 17; also streaming

$645,320 in 601 theaters (+394); Cumulative: $47,277,000

This long-running film, which is already streaming, got one last push from the Oscar marathons.

I, Tonya (Neon) Week 12

$580,640 in 423 theaters (-79); Cumulative: $28,094,000

With its two actresses leading continued interest, “I, Tonya” looks headed for a $30 million total. It already has quadrupled the previous best showing from new distributor Neon.

Call Me By Your Name (Sony Pictures Classics) Week 14

$552,141 in 675 theaters (+343); Cumulative: $15,793,000

Most new theaters came from the Best Picture marathons, with the gross increasing only slightly despite a doubling of locations.

“Phantom Thread”

Phantom Thread (Focus) Week 9

$595,000 in 651 theaters (+296); Cumulative: $18,747,000

A similar small boost for Paul Thomas Anderson’s film, also on its final legs.

2018 Oscar Nominated Shorts (Magnolia) Week 3; also streaming     272/2146

$450,000 in 230 theaters (-42); Cumulative: $2,596,000

This year’s shorts edition is headed to its best result yet, somewhere over $3 million.

“A Fantastic Woman”

A Fantastic Woman (Sony Pictures Classics) Week 4

$162,336 in 78 theaters (+49); Cumulative: $589,415

A quite rapid expansion for the Chilean Oscar nominee is finding interest. With a possible win ahead, this could be around for a while.

Film Stars Don’t Die in Liverpool (Sony Pictures Classics) Week 9

$76,611 in 102 theaters (+5); Cumulative: $702,483

At its widest point yet, this Annette Bening retelling of Gloria Graham’s last years has run out of whatever juice it had.

The Insult (Cohen) Week 6

$76,160 in 50 theaters (+7); Cumulative: $762,061

Lebanon’s Oscar contender continues to gross above most subtitled arthouse entries these days. Its release, timed to a hoped for Oscar nod, has worked well, with a gross over $1 million likely even if it doesn’t win.

Loveless (Sony Pictures Classics) Week 3

$65,457 in 12 theaters (+3); Cumulative: $131,969

A respectable expansion for a challenging foreign-language Oscar contender. Continued strong reviews are giving the Russian entry a boost ahead of the awards.

Also noted:

Faces Places (Cohen) – $15,118 in theaters; Cumulative: $873,161

Source: IndieWire film