Ever wondered if Star Wars and Orgazmo were linked? Or whether E.T. and Dogma were connected? Well ponder no longer, because that’s exactly what Culturegraphy does

Developed by Kim Albrecht, the interactive visualization brings to life over 100 years of complex relationships between movie references. Each movie is represented by a point, and connecting lines show where a relationship exists (the gradient runs blue from the influencer to red at the influenced).

At first these things look super simple, but explore the interactive visualizations and you’ll realize that there’s a lot to find out. The video, above, goes a long way in showing how much information is packed in. Take a watch, and the go explore the full visualization

Knicks Poetry Slam - Episode 3 Block 1

Here is a little gem from the past. I recently found this segment that I edited for MSG. A fun project about a Poetry Slam competition in NYC that I worked with my boy David Kornfield. The show got 6 NY Emmy nomination including Best Documentary and Best Editing (Hermann H. Hermannsson). 

Great material shot by Rob Hobson and Gabriel Judet-Weinshel and not to mention very talented young poets.

"The Evolution of Green Screen Compositing" by Filmmaker IQ

An interesting look into the history of the visual trickery.

Sci-Fi Since 1902

Nicely Sci-Fi montage of the Sci-Fi powerhouses who shaped the genre.

Brought to you by 60photogramas


Hér má sjá brot af afrakstri síðasliðinna 12 mánaða hjá mér og fleiri góðum í Latabæ.

Sería 4 af Latabæ að klárast nú fyrir páska. 26 þættir í 2 seríum á síðastliðnum 2 árum. 
Skemmtilegt verkefni með góðu fólki á lokametrunum. 

               =========================

Here below you can see the culmination of the last 12 months in my professional life in LazyTown.

Season 4 is wrapping up at easter. 26 episodes spanning 2 seasons in the last 2 years.
A fun, demanding job with highly talented people.

I dated someone in the military and he was in shock that we were working all of these hours and he was out there saving lives and he’d be home by 4 p.m.: He was in Afghanistan and his hours were better than mine.

Farah Bunch a head of a makeup department talks about the unglamorous, punishing hours of working on a Hollywood set. 

See the very interesting full article here

cinephilearchive:

Sometimes referred to as the “contra-zoom,” it attempts to undermine normal visual perception by zooming in or out on a subject while moving away or towards them, keeping the size of the subject constant in the field of view. Alfred Hitchcock made this camera movement famous in the movie ‘Vertigo,’ so some industry professionals call it the “vertigo effect.”


Vashi Nedomasky, courtesy of his blog Vashi Visuals, has put together the best of the best  when it comes to the dolly zoom, starting with Alfred Hitchcock’s ‘Vertigo,’ and moving forward in time from there. Comprising of 23 shots — with context of the scenes before and after to  help emphasize the effect — the eight minute video is great look at how one technique can carry different weight depending on the filmmaker, genre and characters involved. —Kevin Jagernauth

"Horizon - How to Film The Impossible" (1985)

Another VFX porn video. This time portraying the early days of “Industrial Light and Magic”

Back when visual effects were created by magicians and not programmers… Originally broadcast in 1985, this edition of Horizon (BBC 50-minute science documentary series) visits Industrial Light & Magic and Entertainment Effects Group to see the creation of the visual effects for ‘Star Wars Episode VI: Return Of The Jedi,’ ‘Indiana Jones and the Temple Of Doom’ and ‘2010: The Year We Make Contact.’ “It’s about a time when innovation was made in a machineshop and not via lines of computer code. In many ways it’s a love letter to a bygone era when visual effects were more akin to a stage illusionist tricks or the slight of hand of a magician. Anyhow, it was a seminal moment for me. I hope it brings back fond memories for you.” —Chris Jones  


Pretty amazing stuff

reblogged from Cinephilia and beyond

RED cameras absent from all Oscar cinematography and best picture nomineesInteresting. Arri controls the market (high end at least)9 were shot digital the rest (4) were on film.Taken from EOSHD

RED cameras absent from all Oscar cinematography and best picture nominees

Interesting. Arri controls the market (high end at least)

9 were shot digital the rest (4) were on film.

Taken from EOSHD

Martin Scorcese and Thelma Schoonmaker in the edit room during post work of “Last Temptation of Christ” (1987) where Martin explains ideology of how the layout of an edit room should be.

Pretty interesting casual glimpse of the old ways of editing that still applies to todays workflow.

Pre and post VFX work by the very talented gang at Brainstorm Digital NYC on Scorsese’s ‘The Wolf of Wall Street’. 

I must say that I am a sucker for these “pre&post VFX work videos”. The tennis shot is specially interesting. Was that a pick up shot? 

Roger Corman: Hollywood’s Wild Angel (1978)

Roger Corman: Hollywood’s Wild Angel is a documentary examining the life and career of Roger Corman.

"Roger William Corman (born April 5, 1926)[1] is an American film producer, director and actor.[2] He has mostly worked on low-budget B movies. Much of Corman’s work has an established critical reputation” Wikipedia

Clips from his films and interviews with actors and crew members who have worked with him are featured. Appearances by Ron Howard, David Carradine, Martin Scorsese, Francis Ford Coppola, Peter Fonda, Joe Dante, Allan Arkush and Jonathan Kaplan. 

“H.265 benchmarked: Does the next-generation video codec live up to expectations?H.264 has been a huge success. It’s a flexible codec standard that’s used by streaming services, satellite providers, and for Blu-ray discs. It’s scaled remarkably well since it was first proposed and is capable of handling 3D, 48-60 fps encodes, and even 4K. The Blu-ray disc standard doesn’t currently include provisions for some of these technologies, but the H.264 codec itself is capable of handling them.
The problem with H.264, however, is that while it can handle these types of encodes, it can’t do so while simultaneously keeping file sizes low.A new standard is necessaryto push file/stream sizes back down while driving next-generation adoption, and that’s where H.265 comes in. It’s designed to utilize substantially less bandwidth thanks to advanced encoding techniques and a more sophisticated encode/decode model.”See rest of article here taken from “http://www.extremetech.com/”

H.265 benchmarked: Does the next-generation video codec live up to expectations?

H.264 has been a huge success. It’s a flexible codec standard that’s used by streaming services, satellite providers, and for Blu-ray discs. It’s scaled remarkably well since it was first proposed and is capable of handling 3D, 48-60 fps encodes, and even 4K. The Blu-ray disc standard doesn’t currently include provisions for some of these technologies, but the H.264 codec itself is capable of handling them.

The problem with H.264, however, is that while it can handle these types of encodes, it can’t do so while simultaneously keeping file sizes low.A new standard is necessaryto push file/stream sizes back down while driving next-generation adoption, and that’s where H.265 comes in. It’s designed to utilize substantially less bandwidth thanks to advanced encoding techniques and a more sophisticated encode/decode model.”

See rest of article here 

taken from “http://www.extremetech.com/”

The Changing Shape of Cinema: The History of Aspect Ratio

The Changing Shape of Cinema: The History of Aspect Ratio

"John Hess traces the evolution of the screen shape from the silent film days through the widescreen explosion of the 50s, to the aspect ratio of modern digital cameras."

Really well put together. Here you can follow the history of the Aspect Ratio and discover where the 16:9 format comes from.