What is the magic formula in post-production that brings a film to life? Listen to this roundtable of editors, colorists, and an animator to find out!
The difference between a film that has some good moments and a full-fledged, unhindered story hinges on how it's treated in post-production. That success starts with the delicate navigation of the editor. At Sundance 2018, a handful of talented post-production artists who worked on some of the most cutting-edge indie films of 2018 sat down with us to discuss how they work to make brilliant, award-winning films. In Part 1 of this podcast, we focus on the role of the editor, their process of working with directors, and how they articulate the nuanced philosophy behind their craft.
Read Article: nofilmschool.com/2018/05/post-production-editors-process-podcast-part-one
Science fiction has a habit of turning into science fact. Usually, that’s because a good sci-fi writer has some level of scientific knowledge, or at least interest. They can look at where the world is now and extrapolate. That way, they end up with a pretty good guess that turns out to be true. You see this a lot in classic sci-fi novels, many of which prioritized the concepts over things like story and character. (I love Isaac Asimov and Arthur C. Clarke, but man is their early writing dry.)
Other times, fantasy becomes a reality despite the original work not having too firm a scientific basis. Someone had an idea, they put it on paper or film, and it ended up happening. You see this a lot in movies and TV, even when that work’s use of technology is basically a stand-in for magic. Usually, that happens because whoever write the thing thought the idea was cool. Then, somebody else with knowledge, money or both saw it and agreed that it was cool. So, they threw everything they had at it and figured out a way to make it happen. We’re going to guess that’s what happened with most of these movies that inspired real tech.
Read Article: www.geek.com/movies/10-movies-that-helped-create-real-technology-1740036/
Hollywood: Perhaps no other place on earth evokes the same air of show-business magic and glamour. The legend of Hollywood began in the early 20th century and is an earmark of modern American society rich in history and innovation.
The origin of movies and motion pictures began in the late 1800’s, with the invention of “motion toys” designed to trick the eye into seeing an illusion of motion from a display of still frames in quick succession, such as the thaumatrope and the zoetrope. In 1872, Edward Muybridge created the first true “motion picture” by placing twelve cameras on a racetrack and rigging the cameras to capture shots in quick sequence as a horse crossed in front of their lenses.
Read Article: http://historycooperative.org/the-history-of-the-hollywood-movie-industry/
The magic lantern was an early form of slide projector that was an early step on the road to the motion picture technology of today.
The magic lantern was invented in the 1600’s, probably by Christiaan Huygens, a Dutch scientist. It was the earliest form of slide projector and has a long and fascinating history. The first magic lanterns were illuminated by candles, but as technology evolved they were lit by increasingly powerful means.
The name “magic lantern” comes from the experience of the early audiences who saw devils and angels mysteriously appear on the wall, as if by magic. Even in the earliest period, performances contained images that moved—created with moving pieces of glass.
Read Article: http://www.magiclanternsociety.org/about-magic-lanterns/
Updated January 11, 2018
It’s commonly thought that “older” movies are in black and white and “newer” movies are in color as if there is a distinct dividing line between the two. However, as with most developments in art and technology, there isn’t an exact break between when the industry stopped using black and white film and when it started using color film. On top of that, film fans know that some filmmakers continue to choose to shoot their films in black and white decades after color film became the standard — including “Young Frankenstein” (1974), “Manhattan” (1979), “Raging Bull” (1980), “Schindler’s List” (1993), and “The Artist” (2011).
In fact, for many years in the earliest decades of film shooting, in color was a similar artistic choice — with color movies existing for far longer than most people believe.
Read Article: https://www.thoughtco.com/how-movies-went-from-black-white-to-color-4153390
The film festival history and its twisty-turny past are filled with notable incidents and tie in with some of the most integral political and historical events of the last century. We’ve dived into this melange, to give you a crash-course in the film festival history, the lifeblood of FilmFestivalLife. Here’s our essential six major events you should know.
The modern film festival conjures up many impressions in the popular imagination – a whirlwind of red carpets, gala premieres, yacht parties and yes – don’t forget it! – outstanding filmmaking. That’s not it though. There are more of these cinematic extravaganza’s than you’d expect (FYI: nobody’s quite sure of the real number) and they cater for all types of audiences – whether industry or public, short or feature, documentary or animation, the modern film festival is a dynamic, not-always-mega-glam beast.
Read Entire Article: http://www.blog.filmfestivallife.com/2016/09/26/film-festival-history/
Film Noir is one of Hollywood’s only organic artistic movements. Beginning in the early 1940s, numerous screenplays inspired by hardboiled American crime fiction were brought to the screen, primarily by European émigré directors who shared a certain storytelling sensibility: highly stylized, overtly theatrical, with imagery often drawn from an earlier era of German “expressionist” cinema. Fritz Lang, Robert Siodmak, Billy Wilder, and Otto Preminger, among others, were among this Hollywood vanguard.
Read Article: http://www.filmnoirfoundation.org/filmnoir.html
Read Entire Article: https://www.fandor.com/infographics/a-snapshot-of-independent-film-history
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