August 11, 2018

4 Tips for Learning the Intricacies (and Complexities) of Color Grading

A job this difficult can’t just be an issue of black and white.“The colorist is the person who makes your rubbish film turn into something …
Source: CW’s Flipboard Feed

August 10, 2018

How to Translate Your Brand into a Physical Space?

Source: Visual Storytelling

August 9, 2018

Filmmaking Techniques: Mastering the Rack-Focus

Here are some tips and best practices for shooting smooth, professional-looking rack focus shots on your next film or video project.
Source: CW’s Flipboard Feed

August 9, 2018

Music Videos: Guide to 2019 SXSW Film Festival Submissions

The SXSW Music Video screening section consists of a range of classic, innovative, and stylish work showcasing the scope of music video culture.

If you are interested in submitting a music video to the 2019 SXSW Film Festival, we are only a few short weeks away from the Early Submission Deadline on August 23. Before you submit, be sure to take a look at our guidelines below to ensure your music video is eligible for SXSW and check out the Film Submissions page for deadlines and fees.

Music Video Submission Guidelines

• SXSW does not place any restrictions on the premiere status of music videos. The vast majority of music videos screened at SXSW will have premiered online prior to the festival.

• It’s important to note that only OFFICIAL ARTIST APPROVED music videos are eligible for SXSW.

• The music video should be the official music video for that song by that artist. As in, the artist and/or label commissioned the video and has their approval to be made.

• Your music video must have been completed in 2017, 2018 or be on track for completion in early 2019.

• SXSW does not accept trailers or rough assemblies, but will accept work-in-progress cuts (picture lock with temp sound, color, etc.) Please be aware SXSW will not screen multiple updates/versions of your music video for programming consideration.

• All music videos must be submitted via a secure URL link. Please note, if you change this link or any of your login information prior to March 2019 without contacting SXSW your submission may become ineligible for consideration.

• For specific questions about submitting your music video, look no further than our Film Submissions FAQ. Still have questions? Don’t hesitate to email filmfest@sxsw.com.

• Once you have submitted, you will receive a confirmation email from SXSW within 48 hours. This email will confirm that your music video has been submitted correctly. If you do not receive this email within 48 hours, you should follow up by email (filmfest@sxsw.com) to ensure your project has been submitted properly and is under consideration.

• All applicants will be informed of the status of their project no later than Friday, February 8, 2019.

Submit Your Music Video

Join Us in March 2019

Registration and housing are now open for SXSW 2019. A Film Badge gets you primary access to all SXSW Film events including world premieres, roundtables, workshops, and parties. Film registrants also have primary access to Convergence events including the Comedy Festival and nine unique conference tracks, as well as secondary access to most Interactive and Music events.

Follow us on Facebook, Twitter, Instagram, and SXSW News for the latest SXSW coverage.

See you in March!

Second Hand Lovers – Photo c/o of Artist

The post Music Videos: Guide to 2019 SXSW Film Festival Submissions appeared first on SXSW.

Source: SxSW Film

August 7, 2018

SXSW Alumni Film Releases – August 2018

Discover some of the SXSW Film Festival alumni films and shows on release this month, such as Blood Fest, Elizabeth Harvest , and The Man From Mo’Wax. Continue on for a complete list with trailers and more info.

The Atomic Cafe

World Premiere of 4K Restoration, Documentary Feature, 2018

A pristine restoration of a visionary, cult classic. Terrifying, unpredictable and unexpectedly funny, this trip through Atomic Age paranoia is as sadly timely as it ever was.

Now in Theaters

Blaze

Narrative Feature, 2018

Inspired by the life of Texas outlaw musician and Willie Nelson contemporary Blaze Foley, Ethan Hawke’s film is a rich meditation on legacy and creativity. A killer cast features Ben Dickey, Alia Shawkat, and Charlie Sexton as Townes Van Zant.

In Theaters August 16

Blood Fest

World Premiere, Narrative Feature, 2018

Owen Egerton’s debut feature is a knowingly lurid, Grand Guignol trip through a night in slasher hell. It earns its horror stripes in a gleefully gruesome style.

In Theaters August 18

Elizabeth Harvest

World Premiere, Narrative Feature, 2018

A macabre, twisted dive into the depths of desire, Elizabeth Harvest stars Carla Gugino and Ciarán Hinds in a Hitchcockian mind-warp that’s claustrophobic as it is unpredictable.

In Theaters and On Demand August 10

Half the Picture

Documentary Feature, 2018

Urgent and timely, Half the Picture explores and extolls the role of women in filmmaking, from indie to Hollywood, featuring Ava DuVernay, Jill Soloway, Gina Prince-Bythewood, and many more.

Now On Demand

Greener Grass

North American Premiere, Narrative Short, 2016

It’s rough out there for a soccer mom. And competitive AF. Greener Grass takes a skewed look at motherhood and suburbia in a world that gets weirder by the minute.

Now Online

The Man From Mo’ Wax

World Premiere, Documentary Feature, 2016

An exhilarating and intimate portrait of visionary artist and Mo’wax innovator James Lavelle, drawing from a rich trove of archival material, and featuring DJ Shadow, Thom Yorke and Grandmaster Flash.

In Theaters August 31

Milford Graves Full Mantis

North American Premiere, Documentary Feature, 2018

A thrillingly experimental, richly detailed portrait of free jazz legend and mystic Milford Graves, bristling with fiery music and cosmic insight.

Now In Theaters

Never Goin’ Back

Narrative Feature, 2018

Punk spirit and millennial hedonism collide in this spikey debut feature from Augustine Frizzell. A blast from start to finish, and keenly reflective of Weird American Life 2018.

Now In Theaters

A Prayer Before Dawn

North American Premiere, Narrative Feature, 2018

Brutal, bleak and cathartic, this classically styled prison thriller features a devastating turn from rising star Joe Cole (Peaky Blinders).

In Theaters August 10

Support The Girls

World Premiere, Narrative Feature, 2018

Andrew Bujalski’s latest is as witty and sharply observed as ever. An extraordinary cast led by Regina Hall helps make Support The Girls an essential, timely viewing.

In Theaters August 24

Join Us in March 2019

We are open for business! Registration and housing are now available for SXSW 2019. A Film Badge gets you primary access to all SXSW Film events including world premieres, roundtables, workshops, and parties. Film registrants also have primary access to Convergence events including the Comedy Festival and nine unique conference tracks, as well as secondary access to most Interactive and Music events.

Follow us on Facebook, Twitter, Instagram, and SXSW News for the latest SXSW coverage.

See you in March!

The post SXSW Alumni Film Releases – August 2018 appeared first on SXSW.

Source: SxSW Film

August 5, 2018

Steven Seagal, Who’s Banned From Ukraine, Named a ‘Special Representative’ of Russian Foreign Ministry

Steven Seagal, who is currently banned from Ukraine after being labeled a threat to national security, has been named a “special representative” of the Russian Foreign Ministry. A Russian citizen since 2016 and ally of Vladimir Putin who vehemently denies that the country interfered in America’s 2016 presidential election, Seagal’s role will concern “the sphere of culture, public and youth exchanges” and be similar to that of a United Nations goodwill ambassador.

According to the Russian Foreign Ministry’s Facebook post announcing the appointment, Seagal will not receive a monetary reward for his duties — such is his commitment to Mother Russia. That same commitment is the reason the “Under Siege” and “Hard to Kill” has been deemed persona non grata by neighboring Ukraine, which bans those who have “committed socially dangerous actions … that contradict the interests of maintaining Ukraine’s security.” Seagal has called Russia’s annexation of Crimea “very reasonable.”

“For anyone to think that Vladimir Putin had anything to do with fixing the elections, or even that the Russians have that kind of technology, is stupid,” Seagal said during an appearance on “Good Morning Britain” last year. “And this kind of propaganda is really a diversion…so that the people in the United States of America won’t really see what’s happening.

Source: IndieWire film

August 5, 2018

‘BlacKkKlansman’ Features an Unreleased Prince Song on the Soundtrack, Spike Lee Reveals

“BlacKkKlansman” has been earning praise and making headlines since its world premiere at Cannes, where Spike Lee’s latest was awarded the prestigious Grand Prix. Now, on the eve of the film’s theatrical release, there’s more news still: “BlacKkKlansman” uses the unreleased Prince song “Mary Don’t You Weep” during its end credits.

“I knew that I needed an end-credits song,” Lee told Rolling Stone. “I’ve become very close with Troy Carter, one of the executives at Spotify [and a Prince estate advisor]. So I invited Troy to a private screening. And after, he said, ‘Spike, I got the song.’ And that was ‘Mary Don’t You Weep,’ which had been recorded on cassette in the mid-80s.”

“Prince wanted me to have that song, I don’t care what nobody says,” he added. “My brother Prince wanted me to have that song. For this film. There’s no other explanation to me. This cassette is in the back of the vaults. In Paisley Park. And all of a sudden, out of nowhere, it’s discovered? Nah-ah. That ain’t an accident [laughs].”

Lee threw the second annual “Prince’s Born Day Purple People Party” in early June, alluding to the possibility of making a film about the dearly departed icon: “I’d love to, but it’s not for me to say. It’d have to come from the estate or the publishing house or the label — I’d love to, but I can’t just say ‘I’m doing it.’”

“BlacKkKlansman,” meanwhile, opens in limited release this Friday, August 10.

Source: IndieWire film

August 5, 2018

‘The Miseducation of Cameron Post’ Leads Openers as Specialty Summer 2018 Soars

Happy days continue at the specialty box office. “The Miseducation of Cameron Post” (FilmRise) is yet another Sundance debut to open well in limited release, in New York.

And several strong summer performers keep chugging along in wider release: “Eighth Grade” (A24) and “Three Identical Strangers” (Neon) lead the holdovers this week. Both could wind up with ultimate totals over $10 million.

Opening

The Miseducation of Cameron Post (FilmRise) – Metacritic: 69; Festivals include: Sundance, San Francisco, Seattle 2018

$53,000 in 2 theaters; PTA (per theater average): $26,500

The biggest opening in the history of FilmRise (by a large margin), this Sundance drama stars Chloë Grace Moretz as a teen sent to gay conversion camp by her religious parents after being caught with another girl. This opened initially in two Manhattan locations, with Moretz boosting interest with Q&A sessions at the theaters. This drama joins non-documentary specialized releases “Eighth Grade,” “Sorry to Bother You,” and “Leave No Trace” with strong initial response, unlike many that have fallen short this year. And it is another than seems to be boosted by its focus on female characters.

What comes next: Seven new cities open this Friday.

Sundance

Never Goin’ Back (A24) – Metacritic: 61; Festivals include: Sundance, South by Southwest 2018

$10,044 in 2 theaters; PTA: $5,022

Two young Texas waitresses break loose and join forces for a road trip in Augustine Frizzel’s debut feature which scored a coveted A24 acquisition at Sundance. The movie landed good theater placement in New York and Los Angeles, but not a strong initial result.

What comes next: A specialized location expansion starts this Friday.

Week Two

Puzzle (Sony Pictures Classics)

$128,598 in 16 theaters (+11); PTA: $8,037; Cumulative: $225,936

Kelly McDonald plays a home-bound suburban wife who becomes obsessed with jigsaw puzzles and opens up socially, engaging romantically with her puzzle partner (Irrfan Khan) in this drama, which expanded to top cities with a gross above most of SPC’s recent releases.

Scotty and the Secret History of Hollywood (Greenwich)

$43,259 in 5 theaters (+4); PTA: $8,652; Cumulative: $80,234

This documentary about the lesser known activities of some of Hollywood’s biggest stars came to New York and added some Los Angeles theaters after its very strong initial opening. The IFC Center did a $24,000 initial exclusive gross, in the range of the Arclight Hollywood last weekend. Chicago and San Francisco open this Friday.

The Captain (Music Box)  1-13

$6,016 in 2 theaters (+1); PTA: $3,013; Cumulative: $18,829

This German WWII faked identity escape story added Chicago in its second week to its initial New York exclusive to minor results. Music Box has this set for multiple big city dates ahead, including Los Angeles among new ones this Friday.

Courtesy of Sundance Institute

Ongoing/expanding (grosses over $50,000)

Eighth Grade (A24) – Week 4

$2,870,000 in 1,084 theaters (+926); Cumulative: $6,581,000

The quick and quite wide national break for this middle school girl’s awkward coming-of-age story showed strong results in some locations. A24 has released several broader hits (led by the recent “Hereditary,” at $44 million their biggest yet). “Eighth Grade” by rough comparison at a similar stage is doing about two-thirds as well as their “Ex Machina,” which ended up over $25 million.

Three Identical Strangers (Neon) – Week 6

$1,054,000 in 405 theaters (-28); Cumulative: $8,480,000

An excellent hold (down a little over ten percent) for this audience-grabbing documentary will easily top $10 million and might even reach the amazing “RBG” ultimate total (around $14 million).

Sorry to Bother You (Annapurna) – Week 5

$810,000 in 404 theaters (-398); Cumulative: $14,917,000

Boots Riley’s acclaimed genre-bender shed about half of its theaters. But those remaining lifted the per theater average to about $2,000, better than last weekend. That should keep this afloat at most of the better performing theaters, as this successful Sundance release heads to an ultimate gross likely in the $17-18 million range.

Courtesy of Sundance Institute

Blindspotting (Lionsgate) – Week 3

$660,000 in 523 theaters (no change); Cumulative: $3,172,000

With the same theater count as last weekend, on its first wider national break, this Oakland story of young men struggling to stay on the good side of the law dropped 48 per cent. This is likely not enough to sustain an extended run at most theaters.

Won’t You Be My Neighbor? (Focus) – Week 9

$495,000 in 284 theaters (-180); Cumulative: $21,032,000

The per-theater average actually went up this weekend in the late stages of the spectacular run of the Fred Rogers documentary. Documentaries have become a dominant force in specialized films, and whatever the ultimate gross here, its figure (which should get at least $2 million higher) is by far the best among them over the past four years, the best from the specialized world in over a decade, and the best ever for a biodoc.

Leave No Trace (Bleecker Street) – Week 6

$266,701 in 169 theaters (-120); Cumulative: $5,194,000

Debra Granik’s first film since her Oscar nominated “Winter’s Bone” in 2010 is one of the few specialized dramas currently breaking out beyond the recent $3 million maximum beyond which it seems tough to reach. “Bone” adjusted (also a summer release, with its awards run after it had left theaters) reached (adjusted) about $8 million. This should approach $6 million, which in today’s environment makes it perhaps a more impressive achievement.

Ann Ray

McQueen (Bleecker Street) – Week 3

$181,664 in 34 theaters (+29); Cumulative: $491,073

In the subset of documentaries about fashion world icons, “McQueen” (that’s Alexander, not either of the Steves) in its third week is doing well and at a level above recent ones about Dior and Diana Vreeland, but not quite as well as “The September Issue” (focusing on Anna Wintour). This looks headed for a potential gross between their levels, perhaps around $2 million or more.

Don’t Worry, He Won’t Get Far On Foot (Amazon) – Week 4

$147,972 in 177 theaters (-89); Cumulative: $1,209,000

Gus Van Sant’s latest (Portland-set) film is struggling to find a sizable audience. Even with Joaquin Phoenix and Jonah Hill among those in the cast, this will end up no better than $2 million.

RBG (Magnolia) – Week 14

$(est.) 105,000 in 57 theaters (-46); Cumulative: $13,580,000

This huge success refuses to go quietly into the night, just like its subject.

The Cakemaker (Strand) – Week 6

$(est.) 56,000 in 31 theaters (-3); Cumulative: $(est.) 577,000

This Israeli drama about disparate worlds interacting in Israel continues to add to its gross and become one of the rare subtitled specialized films this year to gain traction.

Also noted:

Far from the Tree (IFC) – $26,664 in 13 theaters; Cumulative: $72,876

Dark Money (PBS) – $26,525 in 15 theaters; Cumulative: $94,148

Whitney (Roadside Attractions) – $19,500 in 27 theaters; Cumulative: $2,947,000

The King (Oscilloscope) – $16,525 in 27 theaters; Cumulative: $236,550

Hearts Beat Loud (The Orchard) – $14,132 in 33 theaters; Cumulative: $2,355,000

Gauguin: Voyage to Tahiti (Cohen) – $13,793 in 7 theaters; Cumulative: $164,214

1945 (Menemsha) – $12,074 in 10 theaters; Cumulative: $802,087

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Source: IndieWire film