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  • Momentum: "300: Rise Of An Empire"

    300: Rise of an Empire 1st Official Trailer 300: Rise of an Empire Trailer The 3D film shot on RED EPIC is Directed by Noam Murro and lensed by Simon Duggan, ACS, from a screenplay by Zack Snyder & Kurt Johnstad, based on the graphic novel Xerxes, by Frank Miller. It is produced by Gianni Nunnari, Mark Canton, Zack Snyder, Deborah Snyder and Bernie Goldmann. Thomas Tull, Frank Miller, Stephen Jones and Jon Jashni serve as executive producers. The creative filmmaking team includes production designer Patrick Tatopoulos, editor Wyatt Smith and costume designer Alexandra Byrne. The music is composed by Junkie XL. Based on Frank Miller’s latest graphic novel Xerxes, and told in the breathtaking visual style of “300,” this new chapter of the epic saga takes the action to a fresh battlefield —on the sea— as Greek general Themistokles attempts to unite all of… 300: Rise of an Empire pits Themistokles against the massive invading Persian forces led by mortal-turned-god Xerxes, and Artemisia, vengeful commander of the Persian navy. The film stars Sullivan Stapleton (Gangster Squad) as Themistokles and Eva Green (Dark Shadows, Casino Royale) as Artemisia. Lena Headey reprises her starring role from “300” as the Spartan Queen, Gorgo; Hans Matheson (Clash of the Titans) stars as Aeskylos; David Wenham returns as Dilios, and Rodrigo Santoro stars again as the Persian King, Xerxes. The film will be distributed by Warner Bros. Pictures. Visit: 300: Rise of an Empire ———————————————         Tweet >

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  • Momentum: James Cameron Announces Glasses-Free 3D

    James Cameron Announces Glasses-Free 3D NAB 2013: CPG, Dolby, Philips James Cameron Announces Glasses-Free 3D James Cameron on the new alliance with CAMERON | PACE Group, Dolby Laboratories and Philips for glasses-free 3D. This is shown in 3D in the Dolby booth at the NAB Show. Las Vegas, April 9, 2013: Dolby Laboratories, Inc. and Royal Philips Electronics in association with CAMERON | PACE Group (CPG) announced that they have signed an agreement to integrate the Dolby® 3D format into CPG’s 3D video content production… Dolby will showcase CPG’s 3D content in its booth at NAB Show 2013 (booth SU1702) as part of its demonstration of Dolby 3D technology from postproduction through distribution to playback. Led by founders James Cameron and Vince Pace, CPG is advancing 3D through the development of products, solutions, and creative tools for use across all media channels. Supporting networks, studios, broadcasters, filmmakers, and creative teams globally, the company has considerable expertise that helps content producers realize the full potential of 3D as a new, immersive, and powerful storytelling medium. CPG-supported films and broadcasts have won numerous Oscars® and Emmys® for both technical and creative achievements, including three Best Cinematography Oscars in four years. “James Cameron broke new ground in entertainment with his use of 3D in film, but it’s been a challenge to bring his vision to the home and to smartphones and tablets,” said Vince Pace, Founder and Cochairman, CPG. “The Dolby 3D format gives filmmakers the means to bring an artistic vision through production and distribution all the way to presentation, while delivering what we believe to be the best possible 3D experience to consumers—without the need for special glasses.” Roland Vlaicu, Senior Director, Broadcast Imaging, Dolby Laboratories, said, “James Cameron and Vince Pace’s artistic and technological vision make CPG a great partner in our quest to make glasses-free 3D successful for creative professionals, broadcast networks, consumer electronics manufacturers, and ultimately for consumers.” Dolby 3D is a comprehensive suite of technologies for the creation, delivery, and playback of glasses-free 3D content, producing autostereoscopic images with lifelike realism. In addition to eliminating the need for glasses, Dolby 3D has no narrow “sweet spot,” so viewers can enjoy the sharpest images, regardless of where they sit. “Dolby and Philips are committed to taking the 3D experience to the next level, so we are very pleased to be working with CPG to jointly promote a technology that will transform the way 3D content is consumed all over the world and to introduce a new way for the creative community to tell the story,” said Guido Voltolina, General Manager of the joint project. Visit: CPG | Dolby | Philips ———————————————         Tweet >

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  • Momentum: Andrew Geraci Interview. Netflix

    Drew Geraci is an award winning photographer and currently the lead multimedia producer for The Washington Times in Washington, DC and the owner of District 7 Media, LLC. He has served nearly a decade in the U.S. Navy as a photographer’s mate and… His background includes photography, videography, broadcast journalism, motion HDR time-lapse photography, 3D animation, motion graphics, web/graphic design, and good old fashion story-telling. Andrew has worked with Director David Fincher, Editor Angus Wall, HBO, Netflix, NFL, Discovery, Nike, ESPN, CNN, PBS, FOX, FBI, and various local DC companies. Now, Drew and his crew shot the timelapse sequences for the opening credits of House of Cards, Netflix’s first original series. The $100 million political drama (shot on Red Epic) was produced by David Fincher & Kevin Spacey and stars Kevin Spacey as Frank Underwood, Robin Wright and Kate Mara. On February 1st, the company rolled out all 13 episodes (1st season) of the series simultaneously with huge success. Each episode starts with the beautiful timelapse work of District 7. House of Cards Opening Sequence Alex Maragos: So Andrew, when did you start working with Netflix on House of Cards? How everything got started? Andrew Geraci: I received a phone call back in March of 2012, from one of the executive producers of the show. She asked if I would be interested in working with David Fincher and if I had time to sit down with him. I honestly thought it was a joke. It wasn’t. I ended up meeting him on an unseasonably warm March afternoon for lunch at Union Station, in Washington DC. The first thing he said was, “Hey Drew! I’m a big fan of your work.” He then proceeded to name off specific productions and shots that I had created in the past. I was sort of blown away. In my head I wanted to say, “Hey David! Holy crap. I love your movies. Put me to work.” I ended up just saying thanks and told him what a pleasure it was to be able to meet with him. • How was your collaboration with David Fincher? We talked for awhile about time-lapse photography and how it could impact the show. He asked me if I would be up for creating a variety of scenes for the intro, all showing DC in a dirty, gritty, grungy way. I told him that shouldn’t be too hard. He was very open to the idea of letting me choose, pick, and compose nearly 99% of the shots, which left a lot of room for creativity. • How long did it took you to shoot all sequences? We started shooting in March and wrapped up the final shot in August of 2012. It was nearly 6 months of producing more than 6TB worth of imagery. • We see over 30 timelapse clips during the opening credits, how many did you shot? In all, there were over 120 individual shots that we produced over the course of 6 months. • What was the biggest challenge for you on capturing DC via timelapse? The biggest challenge for us (as it is with any other photographer / videographer in DC) is the permitting. National Park Service and DC Police make it very hard to setup and shoot without the proper permits. The downside to this is we had to shoot on scheduled days, which if you know anything about timelapse, you know that you can’t schedule a day to get a specific shot. You have to take it when it’s available. This made shooting some of the scenes difficult because the weather conditions weren’t appropriate. • Which Motion Control System did you use and why? We chose the Dynamic Perception Stage Zero to shoot all of our motion scenes. One of the main reasons we chose to use them is because of their mobility. Compared to other systems the setup time and space imprint is relatively small. Other systems out there require larger setups and more space, something DC doesn’t have. Behind the scenes: House of Cards Opening Sequence • What was your gear? We shoot with the Canon 5D Mark II and Mark III. Lenses included, Canon 16-35mm f/2.8 II, Canon 24mm f/2.8, Canon 100-400mm F/4, Canon 70-200mm F/2.8 II. We used Manfrotto 550XProB tripods and a variety of LEE 100mm filters. • What was your settings on Day & Night timelapse? Setting change depending on the situation so there’s no one setting that I can comment on. Because we shot completely in HDR (High Dynamic Range) it means we captured 3 separate frames with 3 separate exposures which made blending and transitioning easier. There are other methods out there (a few that work incredibly well, but they’re a trade secret at this point). • What’s next? We just completed a variety of timelapses for Super Bowl advertising and the NFL. It also looks like we may be working on a feature film along with some documentaries later this year. We’ll also be testing out new timelapse techniques and hopefully we’ll be able to share those with the public soon. We’re super stoked and excited to be apart of this new timelapse movement that seems to be sweeping the globe. Visit: District 7 | House of Cards Interview: Alexandros Maragos ———————————————         Tweet February 10, 2013

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  • Momentum: OSCARS 2013: Who’s Putting Academy Screeners Online?

    Oscars 2013 Who’s Putting Academy Screeners Online? Studios and indie distributors weigh investigating one guild member who’s under suspicion. As Hollywood readies for Feb. 24’s star-studded Oscars, computer security staff at studios and indie companies are dealing with their own logistical nightmare: the rampant pirating of awards screeners. Several are even contemplating joining together… Name almost any of this year’s best picture contenders and they’ve been available at one point or another on file-sharing sites. (Most still are.) Some studios are successful in taking a file down, but it’s a difficult game of Whac-a-Mole. A Jan. 21 list of the most-pirated movies compiled by TorrentFreak included Silver Linings Playbook, Argo and continued, in descending order, with Django Unchained, Life of Pi (a new addition to the list), The Hobbit: An Unexpected Journey, Les Miserables, Zero Dark Thirty, The Impossible and Lincoln. All were uploaded from awards screeners carrying “for your consideration” scrolls. (Silver Linings Playbook topped the list, though it wasn’t ripped off from a screener.) Numerous other screeners have been pirated, from blockbusters like Skyfall to indies like Hyde Park on Hudson and the doc West of Memphis. While every awards season sees pirated screeners, the difference this year is that so many big studio releases are involved. According to TorrentFreak, The Hobbit has been viewed 2 million times. And though studios use watermarking technology to hunt down those responsible, awards season is certainly the favorite time of the year for pirates, since screeners provide pristine copies of the latest films. “It’s out of control,” confesses one distributor. “It’s Hollywood’s dirty little secret.” This story first appeared in the Feb. 1 issue of The Hollywood Reporter magazine. Via: THR ———————————————         Tweet

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  • Momentum: Two Kickstarter-Funded Films Nominated For Oscars

    Two Kickstarter-funded films Nominated for Oscars 85th Academy Awards Nominations Inocente Two Kickstarter-funded films are nominated for Academy Awards this year. Kings Point, a film about six seniors living in a retirement community of 15,000 people and Inocente, the story of a 15-year-old homeless girl who refuses to give up her dream… Inocente is an intensely personal coming of age feature documentary about a young artist’s fierce determination to never surrender to the bleakness of her surroundings. At 15, Inocente refuses to let her dream of becoming an artist be caged by her life as an undocumented immigrant forced to live homeless for the last nine years. Color is her personal revolution and its extraordinary sweep on her canvases creates a world that looks nothing like her own dark past – a past punctuated by a father deported for domestic abuse and an endless shuffle, year after year, through the city’s overcrowded homeless shelters and the constant threat of deportation. Told entirely in her words, and incorporating animation of her own design, we come to Inocente’s story as she realizes her life is at a turning point, and for the first time, she decides to take control of her own destiny. Inocente is both a timeless story about the transformative power of art and a timely snapshot of the new face of homelessness in America – children. From Team Kings Point on Kickstarter: “Kings Point is a documentary film that profiles six residents who have lived, for over 20 years, in a retirement community that has over 15,000 people in it. The stories of these long-time residents, in what is essentially a small age-segregated city (you have to be over 55 to live there), highlight the struggles of aging in a community comprised entirely of your peers, virtually cut off from children and grandchildren, who often live thousands of miles away. Kings Point will offer a moving and often humorous look at this uniquely American phenomenon, exposing the often grim reality that lies beneath the sunny promise of an active retirement lifestyle”. Also Read: Emmy Winner Greg Yaitanes Technical Interview ———————————————         Tweet

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  • Momentum: Technicolor CineStyle Color Assist & CineStyle Looks

    CineStyle™ Color Assist Technicolor CineStyle™ Color Assist: Eye of the Beholder CineStyle Color Assist was designed by Technicolor color scientists as a color correction and preview tool for filmmakers and videographers of all skill levels, beginner to the professional. Leveraging over 95 years of color science experience, Color Assist allows you to speed up your production workflow by quickly and easily previewing, applying and modifying CineStyle Looks designed by Technicolor’s expert team of colorists. Color Assist’s plug-ins provide ultimate flexibility by working seamlessly with Final Cut Pro 7 and Adobe Premiere Pro CS5.5 and CS6 to allow the color correction process to begin on-set while you’re shooting or after editorial. CineStyle™ Color Assist Overview Tutorial • Instant cc & grading with render free playback • 25 CineStyle Looks designed by Technicolor Colorists • Ability to save up to 9 Color Compositions/video clip • Non-destructive color correction & grading via MetaColor file • User-friendly interface • 3-Way Color Corrector • Support in SD, HD & 2K resolutions • Scopes to easily monitor color information • Plugin support for FCP 7 & Premiere Pro CS5.5 & CS6 • Expandable library with additional packages • Secondary monitor support for full screen playback • Technology based on Technicolor’s DP Lights System Visit: Technicolor CineStyle Color Assist | CineStyle Looks ———————————————         Tweet

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  • Momentum: GoPro HERO3 Black Edition

    GoPro HERO 3 Black Edition Shot 100% on the new HERO3 camera The Wi-Fi enabled HERO3: Black Edition is 30% smaller, 25% lighter and 2x more powerful than previous models, capable of capturing ultra-wide 1440p 48fps, 1080p 60 fps and 720p 120 fps video and 12MP photos at a rate of 30 photos per second. The HERO3: Black Edition captures professional, cinema-quality video at 2X the resolution and 2X the frame-rate of previous models while delivering 2X better low light performance. Slow-motion aficionados and industry professionals will love the HERO3: Black Edition’s 1080p-60, 720p-120, WVGA-240, 960p-100 and 1440p-48 video modes while those desiring a cinematic look will appreciate the ultra-high resolution 2.7kp-24 and… Black Edition’s photo performance is 3X improved, now boasting 12MP burst capture at a staggering 30 frames per second with 2X better low light performance. Still Photo and Time-lapse Photo modes remain the same but are now joined by a new Continuous Photo mode that captures continuous 12MP stills at a steady 3, 5, or 10 photo-per-second rate, up to 30 photos at a time. 6-element aspherical lens combines with user-selectable Ultra-wide, Medium and Narrow field-of-views to deliver more perspective-capture options. Add the totally updated flat-lens waterproof housing that delivers stunning image sharpness both above and below water and you’ve got one of the most powerful and durable image capture solutions. Understanding that sound quality is as important as image quality, GoPro engineers completely redesigned the HERO3 to be as adept at capturing the subtle, natural sounds of voice and music as it is at capturing the immersive sounds of sport. Also improved is GoPro’s wind-noise reduction. The HERO3 Black Edition features built-in Wi-Fi and includes GoPro’s Wi-Fi Remote accessory. The Wi-Fi Remote is normally available as a $79.99 accessory but is included with the HERO3: Black Edition. The Wi-Fi Remote is waterproof, wearable and can control up to 50 Wi-Fi-enabled GoPros at a time from a range of 600’. The built in Wi-Fi means it can also be controlled by iOS or Android smartphones and tablets running the GoPro App. The GoPro App enables full camera control and live scene preview on any compatible iOS or Android smartphone or tablet. Visit: GoPro ———————————————         Tweet

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  • Momentum: Canon EOS C100 Announced

    Canon EOS C100 CINEMA EOS The EOS C100 interchangeable-lens Digital Cinema Camera is the entry-level model in Canon’s Cinema EOS System and offers high resolution, Full HD capture in an ultra-compact body. The C100 fuses Canon’s proven video…

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