Podcasts about Digital cinema

After months in the digital mines, Matt and Corbin come up for air with NATE FISHER, co-writer of the fabulous new American Baseball Picture EEPHUS. We discuss Tony Scott's 1996 Travis-Bickle-As-Sports-Fan classic THE FAN. Topics include: Frederick Weisman, Deniro in a very strange mode, Barry Bonds, and modernist stability slipping into the chaotic morass of the next thing. Our recs this week don't have any relevant links, so I will spare you the description of them here. But, Eephus is currently available on your VOD utility of choice, watch it today. Also make sure to check out Nate's scripted podcast with Will Senett, 'A Closer Look.' We return to Digital Cinema next week with ZODIAC. Finally.   

It goes without saying that a fake holiday to celebrate a film franchise owned by the Disney Corporation is an atrocity of taste and nonsense of the highest degree. Why does life under the social mediaized form of capitalism subject you to all this simpery, this nonsense, this neverending wave of novelty? Truly we are in hell. But hey we had a Star Wars episode in the tank so screw it, Happy Star Wars Day, May the Fourth Be With You! We are joined by friend of the program Ryder Canepa to talk about Star Wars Episode III: Revenge of the Sith! This is a freewheeling episode about how this movie made me and Matt into Men, the emergence of Digital Cinema as we know it, and how a lot of this bad boy is sick with it, if you let it into your heart.  Guess what: our next epsidoe isn't about Zodiac no matter what I say! It's going to be about "The Fan," from 1996. Also watch "Eephus" from earlier this year. We will have a guest. It's a whole thing. 

"I hate L.A. All they do is snort coke and talk." For Episode 356, David and Brandon finish off their main Hyperlink series with SHORT CUTS. Listen as the two discuss Robert Altman's adaptation of the Raymond Carver short stories, how Altman ran his sets, and why the film is one of the most ambitious films we've covered in this series. Also, don't forget to join our Patreon for more exclusive content: Opening - Timecode and Digital Cinema -  (00:00:10) Recap of the Hyperlink Genre (00:06:06) Intro to Short Cuts (00:09:43) How Short Cuts Got to Production (00:14:52) Favorite Scenes (00:28:16) On Set Life - (01:11:12) Aftermath: Release and Legacy (01:19:01) What Worked and What Didn't (01:22:01) Film Facts (01:26:37) Awards (01:26:59) Final Questions on the Movie (01:33:49) Final Genre Questions (01:39:06) Wrapping Up the Episode (01:46:35) Contact Us: Facebook: @cinenation Instagram: @cinenationpodcast Twitter/X: @CineNationPod TikTok: @cinenation Letterboxd: CineNation Podcast

Corbin and Matt talk about 'WHAT IS DIGITAL CINEMA,' a 1995 essay by Lev Manovich concerned the difference between filmic cinema of the 20th Century, and the emerging technological and artistic form that we have been talking about the last few weeks. It's a little hard to explain this episode to be honest, but it's good. Read Manovich's essay here. Corbin reccomends a movie currently in theaters. Matt reccomends "Blackberry," a movie.  Next week's episode is about 'Cars,' from 2006. We will have a bonus episode regarding "Me and You and Evereyone We Know" and also maybe "Timecode" sooner rather than later: We watched them for this episode but didn't get to them.  Sorry the episode is late: I was covering a card show all weekend. Matt wanted me to tell you Closing music is by i/o, it's called wasted my time. It's only available on Youtube. 

Matt and Ryder love The Brutalist! Corbin thinks it's fine. We talk about it! Topics: codings in the text, the question of a broad anti-oppression reading vs. a zionist one, and the life of an artist, which sucks ass.  Corbin reccomends TWO MOVIES currently in theaters. Ryder reccomends "Different Trains" by Steve Reich. Matt reccomends "Blueprinting" by the Aizuri Quartet. Next week's episode will be the beginning of a new series, DIGITAL FRONTIERS, a history of the early days of Digital Cinema. Our subject will be "The Celebration" by Thomas Vintenberg. Watch it here. 

In our second episode of the season, I sit down for a fascinating chat with fellow podcast host and lead colorist of DC Color, Joey D'Anna.Our conversation begins with Joey's strong opinions on coffee preparation, followed by a quick overview of his journey to becoming a colorist. We then dive into the power of HDR and how new display technology can completely changed the creative approach to grading - or not. Finally, we delve into the tech behind WOLED panels, used in the popular LG C and G series displays—and, most importantly, why they aren't ideal as “reference” displays, even when professionally calibrated.Grab your favorite cup of coffee and enjoy the first episode of the new season!Guest Links:IG - https://www.instagram.com/danna_joey/Website - https://www.joeydanna.tv/The Offset Podcast - https://dccolor.com/podcast/IMDB - https://www.imdb.com/name/nm3539316/Send us a textFlanders Scientific Inc. (FSI)Reference Displays for Editors, Colorists and DITSPixelToolsModern Color Grading Tools and Presets for DaVinci Resolve Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Like the show? Leave a review!This episode is brought to you by FSI and PixelToolsFollow Us on Social: Instagram @colorandcoffeepodcast YouTube @ColorandCoffee Produced by Bowdacious Media LLC

Watch the weekly LIVE stream on ⁠⁠BraveMaker YouTube⁠⁠. Description Our special guest, the co-founder of SIMPLE DCP Garrett Sergeant, talks about what a DCP is and why you need one as a filmmaker, especially in our BraveMaker Film Fest. Do your research. Get good quality sound. Export a PRO RES version of your film and upload it to the Simple DCP portal. They will do a quality check. Once approved, they will send your film to our DIGITAL PROJECTION APPROVED theater on a hard drive! Follow BraveMaker on social media: ⁠Instagram⁠ ⁠TikTok⁠ ⁠Facebook⁠ --- Support this podcast: https://podcasters.spotify.com/pod/show/bravemaker/support

Star Wars Theory reacts to a webisode regarding the camera evolution during Star Wars. Learn more about your ad choices. Visit megaphone.fm/adchoices

Will, Adam and Ryan watched Speed Racer. IMDb: imdb.com/title/tt0811080/ Trailer: youtube.com/watch?v=8V8sLlqJB2w

STAR WARS has always been at the forefront of technological innovation in filmmaking. Whether it's the prequels pioneering use of CGI, STAR WARS: Episode II - ATTACK OF THE CLONES being the very first feature film to be shot on digital video rather than traditional celluloid film, or the recent use of the Volume AR stage technology on Disney+ shows like The Mandalorian. Josh is joined by two very special guests -- AJ WEDDING and LEO JAMARILLIO of ORBITAL VIRTUAL STUDIOS -- to discuss how Star Wars has always pushed technology forward. Btw, the secret project with the live deep fake of a Vulcan that they couldn't talk about at the time of recording? Maybe you've seen it: https://www.youtube.com/watch?v=R0U-O7f53kg ORBITAL VIRUTAL STUDIOS Website: https://www.orbitalvs.com/ TRANSCRIPTS AT trashcompod.com RATE US podchaser.com/trashcompod FOLLOW US instragram.com/trashcompod & twitter.com/trashcompod1 EMAIL US trashcompod@gmail.com

Known for his viral Instagram Reels and TikTok videos advocating for outdoor inclusion, & mental health, Andy is a plus size men's outdoor and fashion model, actor, and social media influencer. Andy has worked with national brands REI, Zappos, Eddie Bauer, Every Man Jack, US Foods, Sawyer Products, Gregory Packs, Merrell, Columbia Sportswear and many more.     Andy has a strong social media following with over 175 followers on Instagram and 30k followers on TikTok with millions of views on TikTok and Instagram Reels, having “gone viral” numerous times.   As well as modeling, Andy is podcast producer and host, editor, producer, and a strong media and communication professional with a Bachelors of Science focused in Digital Cinema from Southern Oregon University and a Bachelors of Leadership from Multnomah University. Andy is also the host of The Hiker Podcast, a top 100 Wilderness/Outdoor Podcast on Apple Podcasts.

As we near the 20th anniversary of Episode II, Friends of the Force invites you to celebrate with us as part of Attack of the Clones April! To kick things off, Brad and Sarah discuss how Attack of the Clones became the first film to be shot on a HD digital 24-frame system. What challenges did George Lucas face as he embraced a new norm? Which digital elements are our favorite? How did this pivotal moment change the future of visual effects in Hollywood? All of this and much more on today's episode. Stay tuned for a new AOTC-focused episodes all month long! Friends of the Force is a Star Wars podcast aimed at finding joy in fandom through collaborative in-depth discussions and interviews. New episodes every Monday! Available on Apple Podcasts, Spotify, Google Podcasts, Anchor, and more. Twitter: https://twitter.com/FriendsOfForce Instagram: https://www.instagram.com/friendsoftheforce/?hl=en Website: http://www.friendsoftheforcepod.com YouTube: https://bit.ly/36w7bsd Support us on Patreon: https://www.patreon.com/friendsoftheforce Thank you to all of our Patrons, including our Luminous Beings: Anna, Bria, Carol, Huong, Lee-Ann, Lucy, Neil, Travis, and T. #StarWars

Today's episode begins with perhaps the most important news in show history: Emily Su Bin Ko has joined The Video Essay Podcast as associate producer! The show starts with a conversation between Emily and Will and an introduction to Emily and her work. The episode also features a conversation with Jordan Schonig, a lecturer at SUNY Binghamton. Schonig's work is particularly interesting in the ways it bridges divides between academic and popular videographic criticism. In 2020, Schonig founded the YouTube channel, "Film & Media Studies with Jordan Schonig," which features lecture-style videos that sometime dip into the essayistic to explore concepts in Film and Media Studies. Schonig has also published academic video essays and is the author of the new book from Oxford University Press, The Shape of Motion: Cinema and the Aesthetics of Movement, which features audiovisual criticism in addition to the written text. We discuss his video, "The 'Wind in the Trees' from Early Cinema to Pixar," and Grace Lee's "What Isn't a Video Essay?" 0:00 - Introducing Emily Su Bin Ko 18:50 - Jordan Schonig's Origin Story 21:44 - A Brief Encounter 27:23 - Video Camp & Working With Pretty Images 35:55 - Creating Videographic Criticism as an Early Career Researcher 41:06 - Starting a YouTube Channel 53:56 – "Lev Manovich's 'What is Digital Cinema' and 'Compositing'" 1:02:47 – Deciding Whether to Upload a Work to Vimeo 1:06:55 – "The 'Wind in the Trees' from Early Cinema to Pixar" 1:21:20 - Zooming in On the Marginal 1:25:40 - "What Isn't a Video Essay?" Support the podcast on Patreon. Follow the show on Twitter. Learn more at the pod's website. Get the free newsletter. Music access via Free Music Archive here and here.

META PERFORMANCE SHOW | What are the two most important characteristics of every successful entrepreneur? Michael Cioni, film entrepreneur and Global SVP of Innovation at billion-dollar company Frame.io, brings us a trove of anecdotes and insights on starting, leading, and selling a booming business. He walks us through how he founded post-production studio Light Iron out of his apartment during "the worst time economically but the best time technologically" and sold it to Panavision less than six years later. He shares his perspective on recruiting the right employees, failing up, positivity bias, adapting your communication style for different types of audiences, and "being comfortable being uncomfortable."REFERENCED IN THIS EPISODE: • The Way I heard it with Mike Rowe - podcast• Leaders Eat Last: Why Some Teams Pull Together and Others Don't by Simon Sinek• Outliers: The Story of Success by Malcolm Gladwell• The Tipping Point: How Little Things Can Make a Big Difference by Malcolm GladwellNovus Global is a tribe of elite executive coaches who work with Fortune 500 Companies, Professional Athletes, World Renowned Artists and Business Leaders to create lives, teams and companies that go beyond high-performance.Book a free consultation with a Novus Global coach here: http://novus.global/now/ This podcast is produced by Rainbow Creative with Matthew Jones as Senior Producer and Jeremy Davidson as Editor and Audio engineer. Find out more about how to create a podcast for you or your business at rainbowcreative.co

Hailing from Bloomington, Indiana, Taylor King came to FIDM in 2015, and later graduated in 2019 with a B.A. in Digital Cinema. A Social Ambassador for FIDM while she was in college, Taylor now has 124,000 followers on both YouTube and Instagram for TK's Juicy Polls. The producer for YouTuber Alisha Marie, Taylor has been featured in the New York Post and photographed by Tyler Shields. In today's episode, fellow grad and FIDM Senior Social Media Coordinator Fanny Ramirez chats with the content creator to explore her FIDM story.

Trent Knox is the Founder & CEO of Esports Business Network, also known as EBN. Knox is a graduate of University of Hawaii at Manoa, where he studied Digital Cinema through the Academy of Creative Media, also known as ACM. His studies lead him to pursue a career in independent filmmaking, where he discovered the community & industry of Esports. His experience working in traditional media formats, such as television & film, gave him a foot in the door as credentialed media. His coverage of events such as SXSW Gaming, DreamHack, Anime ATX, Classic Game Fest, and others, has been seen by thousands of gamers. He hosts the EBN Podcast, where he interviews influential Esports Industry Leaders from grassroots to professional organizations. Today, Esports Business Network is home to thousands of Esports Business Professionals sharing knowledge & resources to further develop the industry of Esports.

#music #videogames #influencer #film #digitalmediaListen to the VibesTrent Knox is the Founder & CEO of Esports Business Network, also known as EBN.Knox is a graduate of University of Hawaii at Manoa, where he studied Digital Cinema through the Academy of Creative Media, also known as ACM. His studies lead him to pursue a career in independent filmmaking, where he discovered the community & industry of Esports. His experience working in traditional media formats, such as television & film, gave him a foot in the door as credentialed media. His coverage of events such as SXSW Gaming, DreamHack, Anime ATX, Classic Game Fest, and others, has been seen by thousands of gamers. He hosts the EBN Podcast, where he interviews influential Esports Industry Leaders from grassroots to professional organizations. Today, Esports Business Network is home to thousands of Esports Business Professionals sharing knowledge & resources to further develop the industry of Esports.Instagram: https://www.instagram.com/trentknoxtv/Facebook: https://www.facebook.com/trentknoxtvLinktree: https://linktr.ee/trentknoxWebsite: https://www.trentknox.com/Linktree: https://linktr.ee/esportsbusinessnetworkThe Vibes Broadcast Network - Podcasting for the fun of it! Thanks for tuning in, please be sure to click that subscribe button and give this a thumbs up!!Email: thevibesbroadcast@gmail.comInstagram: https://www.instagram.com/listen_to_the_vibes_/Facebook: https://www.facebook.com/thevibesbroadcastnetworkLinktree: https://linktr.ee/the_vibes_broadcastTikTok: https://vm.tiktok.com/ZMeuTVRv2/

NOW LIVE: Cesar Ribot's Golden Hour. Hey fammo, welcome to The GDP Director's Cut, where we break down and analyze the production and creation of the GDP movie with the help of the people who made it all possible. We were so fortunate to be joined this week by Cesar Ribot! Cesar is a post-production artist and the co-founder of ABOT Studios, the studio currently heading VFX for the GDP movie. Originally from Puerto Rico, Cesar is also a writer, producer, video editor and actor, with his bachelor's in Theater Performance and Masters in Digital Cinema. Cesar has worked on visual effects for years now, and has a plethora of short films and music videos produced and edited under his talented eye. This week, he joined Lexi Matthews over Zoom to discuss his rise into the world of post-production, involvement in the GDP movie, and more. Woah. A great interview from a a great guy. Next week: get ready to laugh-- comedian on the pod. ---------- WATCH this Episode Here: https://youtu.be/bndnCkeavek ----------- Follow Cesar! Website: https://www.a-botstudios.com/ Instagram: Instagram.com/c_l_ribot ------------ Follow GDP! Instagram: @goldendeerproductions Facebook: Facebook.com/GoldenDeerProductions Website: http://goldendeer.productions -------- Subscribe on Apple Podcasts Here: https://podcasts.apple.com/us/podcast/the-golden-hours/id1437829342 --------- Follow Conor Holway: Instagram: @bigboachie LinkedIn: linkedin.com/conorholway Twitter: @boachbonnie -------- Listen To The Golden Hours Podcasts on Apple Podcasts, Spotify, Soundcloud, or any of ya favorite podcasts apps.

I have a couple of interesting tidbits for you today.First up I spoke to James Mathers from the Digital Cinema Society and then chatted with Alicia Brown, Film Victoria’s Production Investment Manager, about a project called Originate which in their words is designed to accelerate the development of a slate of creative-led fiction features, turning early draft scripts into production-ready screenplays by aspirational filmmakers who identify with underrepresented groups in our society. Funding Info

Eric's most precious film to date, DEATH & LIFE, has been banned from the Amazon streaming platform and Eric can only guess as to why. In this episode, Eric discusses the importance of this issue as it concerns the greater discourse on free-speech and art vs. entertainment. Plus, Eric discusses his history with various film and video formats. Please contribute to my PATREON by visiting the URL: https://www.patreon.com/ericnorcrossAnd learn more about me at: http://www.EricNorcross.com Eric Norcross is a filmmaker, writer, and artist. Reach out, ask questions, and let's create! https://www.ericnorcross.com/contact Copyright © 2020 Eric Norcross - All Rights Reserved --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/eric-norcross/support

Daniel Coka and Leon Finley compare notes on the ways that they are each questioning their art practices, how audience factors into their histories with performance, and the ways that ritual, pyschomagical, and drawing practices function as modes of healing and connecting with self. They share experiences of navigating cultural appropriation and un-learning harmful idealogies that come out of art school and patriarchy. This conversation is part of a collaboration between Centrum and New Archives, focused on supporting dialogue between artists across the Northwest. Curated by Satpreet Kahlon, editor for New Archives, the conversations will also be published in a condensed form at new-archives.org. New Archives is an online journal covering art exhibitions, events, conversations and projects along the Pacific side of BC, Washington and Oregon, west of the Cascades (roughly, from Vancouver BC to Eugene, OR). We are based in Seattle and come to publishing by way of being artists, curators, and community organizers. Daniel Coka was born in New Jersey, USA in 1990. He grew up in a Latino migrant community from Ecuadorian parents. Coka has lived in between the US and Ecuador since he was born in 1990. He received a diploma in Visual Arts and Digital Cinema from the University of Cuenca, Ecuador. He works primarily with actions registered in video and audio, but he has also produced in drawing, writing and painting. His work is a constant exploration of identity, in which the label cuir (Spanish for queer) has prompted an intense questioning process, while also addressing race, nationality, latinidad and masculinity. He currently lives and works in Portland OR. https://danielcoka.weebly.com/ Leon Finley is an interdisciplinary artist and queer, trans person born in Seattle in 1987. His work moves between performance, sculpture, drawing, sewing and many places in between. His work is created from his experience having a physical and spiritual body and explores relationships between all kinds of bodies: human, animal, plant, object, sound and the unseen. Leon is a Tarot Card reader and offers Akashic Records consultations; he understands both practices as interwoven into

On this month's podcast Tom chats with DCM's CEO, Karen Stacey. They discuss the last six months, how the business has adapted to the challenges of Covid-19, why cinema remains the best seat in media, and what films we can look forward to for the rest of 2020 and in to 2021. There's also the chance to win £2,000 worth of Selfridges vouchers.

ไลฟ์สุดพิเศษ กับการเจาะลึกกลยุทธ์ของ “SF Cinema” สู่ไอเดีย CAT Drive-in Digital Cinema ผ่านมุมมองคุณมิ้นท์ พิมสิริ ทองร่มโพธิ์ Marketing Director แห่ง บริษัท เอส เอฟ คอร์ปอเรชั่น จำกัด (มหาชน) หลายคนคงจะได้ข่าวการเปิดตัวประสบการณ์ใหม่ในการรับชมภาพยนตร์จาก SF Cinema อย่าง CAT Drive-in Digital Cinema ที่กำลังจะเกิดขึ้นช่วงวันที่ 2-5 กรกฎาคมนี้กันแล้ว วันนี้ Ad Addict เองจึงขอเรียนเชิญผู้บริหารจาก SF Cinema มาพูดคุยกันสักหน่อย! ลองมาดูกันครับว่าที่มาที่ไปของไอเดียในครั้งนี้มาจากไหน และ SF Cinema จะมีการปรับตัวจากสถานการณ์หลังจากนี้อย่างไรบ้าง?

Confira os destaques do caderno Na Quarentena desta terça-feira (09/06/20)See omnystudio.com/listener for privacy information.

The big news this week is the coming of several Indian films, originally meant for theatrical release, to digital streaming platforms. In the latest episode of 'Business of Entertainment', Mint's Lata Jha goes through the financial performance of what’s buzzing in the world of entertainment.

Marcus Hides ACS is one of Australia's most experienced drama cinematographers.  Currently one of the team of cinematographers shooting "Home & Away" for the Seven Network as it rolls into its 33rd consecutive year of production this week, he discusses the show's shooting schedule of 46 weeks per year and the recent switch from ENG style cameras to Super-35 Digital Cinema cameras while continuing to shoot at an incredible pace.

Host Stuart Wright talks with Mike Bradbury, Head Of Sound & Projection for the Odeon Cinema Group, covering the whole of Europe. THE RISE OF SKYWALKER is out December 19, 2019 Buy Odeon tickets in advance from here https://www.odeon.co.uk/films/star_wars_the_rise_of_skywalker/18357/# From THE PHANTOM MENACE to THE RISE OF SKYWALKER: 20 Years Of DIGITAL CINEMA is a two decade look back over cinema's most recent history and how an audacious decision by George Lucas in 1999 would irreversibly change the art of cinema projection forever. Britflicks takes a look, with Mike Bradbury, at how far we've travelled and consider what's happens to a moving image in 2019 that increasingly relies on powerful computer processors to cope with the bitrates and refresh rates - a far cry from the 24 frames per second standard that was established in the 1920s. Mike also offers his advice to indie filmmakers that will ensure you get the best experience from one off screenings/premieres in this new high tech environment. Whatever you, don't just assume everything will be okay. Rehearse your own content before the public sees it. And the pair of us get to celebrate our own favourite cinematic experiences of 2019 too. Credits Intro/Outro music is by Chris Read. For more see www.thecomposers.tv Podcast from www.britflicks.com You can support the @Britflicks podcast by pledging money via www.patreon.com/stuartwright and/or subscribing to it via iTunes

Sky Factory's products, such as the Luminous SkyCeiling and Digital Cinema line, are biophilic design elements that provide research-verified architectural solutions for a range of commercial interiors. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/interiorsandsources/support

On this episode of Orms Air, producer Jess Semple switches over to the host chair and speaks all things colour with fellow colourist Francesca Vervekken. Not sure what a colourist is or does? Don’t worry, Jess and Francesca will talk you through it and bring their secret world of colour out of the bat cave and straight into your ears.You can find more of Francesca's work on her Vimeo here.In this episodeFrancesca references the following people and resources: Ermi Apostolli of 744 Digital whose work can be found here Alexis Van Hurkman as a big inspiration for her. Warren Eagles, his podcast can be found here.Colouristpodcast.com Preist Creative StudioJess references the following people and resources:Jess speaks about her first attempt at colour grading a video project which you can find here.Colourist Donovan Bush who worked on for The Crown, Black Sails, Outlander and Marco Polo.International Colourist AcademyLowepostMixing LightRobbie Carmen's seminar on YouTube can be found hereCourses on UdemyCape Town School of Photography short courses which can be found hereThe article referencing the scientific difference between male and female vision can be found hereScanographer Mishal West, who joined us on Orms Air. You can find his episode here

Le Roi Lion 2019 Le remake du Roi Lion de 1994 a beaucoup fait jasé depuis l'annonce il y a déjà quelques années du projet monumental. En voyant l'ampleur novatrice des technologies d'animation que Disney prévoyait mettre en marche, il est peu surprenant que le public et la critique puissent se montrer réticent. Plusieurs détracteurs jugent le film trop drabe ou simplement inapproprié par rapport à ses origines en deux dimensions beaucoup plus caricaturales et légères. Je ne partage absolument pas cette opinion. De mon côté, il est d'une évidence sans nom que la version de 2019 est un chef-d'oeuvre non seulement d'animation, mais de cinéma en général. Le film brise de nombreuses barrières et nous pousse à réévaluer nos définitions du cinéma qu'on tenait pour acquises depuis trop longtemps. En me basant sur un important texte de Lev Manovich, « What is Digital Cinema », j'explique comment le film de Favreau est un game changer historique. TABLE DES MATIÈRES 00:51 .......... Note sur 10. 03:12 .......... Pourquoi est-ce si bon? 04:31 .......... Lev Manovich : introduction. 05:40 .......... Lev Manovich : 4 caractéristiques du cinéma digital. 11:09 .......... Le loop de l'histoire du cinéma. 14:04 .......... La musique originale du Roi Lion : Hans Zimmer est un génie. 16:25 .......... André Bazin, ben oui toujours. 20:11 .......... Hollywood, c'est une criss de business pis c'est ben correct + Sommaire analyse filmique. 24:54 .......... Chronique baseball.

Bleu Cinéma | Épisode 1 [Pilote] Dans le premier segment, il est question d'un texte de Lev Manovich, « What is Digital Cinema » (Manovich 2002). Un article qui cherche à comprendre et définir le cinéma à l'ère digitale. Comment le cinéma s'est-il transformé au courant du siècle dernier pour revenir à sa source, c'est-à-dire, l'animation. (Le lien du texte est à la fin de la description.) Dans le deuxième segment, on parle de nos films préférés, particulièrement des deux Blade Runner (Scott 1982 ; Villeneuve 2017) et de Pi (Aronofsky 1998). Aussi, un bref retour sur le cinéma analogue (pellicule) versus digital (pixels) par rapport à la musique analogue et digitale. Invités : Amideluxe (Jérôme Bouchard), Morgan Ali, Nicolas Cuadra (pupusas.god) & un invité surprise. Amideluxe : https://soundcloud.com/amideluxe Morgan Ali : https://soundcloud.com/morgan_ali Nicolas Cuadra (pupusas.god) : https://www.instagram.com/pupusas.god/ TABLE DES MATIÈRES 00:00:00 .......... Début du premier segment (Lev Manovich). 00:10:32 .......... Début du deuxième segment (podcast). 00:18:20 .......... Première apparition de l'invité surprise. 00:37:57 .......... Retour sur Lev Manovich. 00:51:47 .......... Votez #MorganAli2018 00:56:22 .......... Conspirations 00:59:03 .......... Retour sur la méthodologie boiteuse du podcast. 00:59:59 .......... Morgan s'est trompé de film. 01:03:57 .......... Arrivée officielle de l'invité surprise. 01:08:24 .......... Ils sont saouls et jouent au bras de fer. 01:16:36 .......... Bleu fume du pot mollement. 01:18:30 .......... Ça dérape. 01:22:14 .......... Skol. 01:22:38 .......... Bleu fume encore du pot, mais moins mollement. 01:24:48 .......... Débat entre Nicolas et l'invité surprise. 01:37:55 .......... Bleu et Nicolas se battent. 01:41:11 .......... Ça dérape. 01:47:24 .......... Il est question de batailles. 01:50:35 .......... Morgan quitte le podcast. 01:56:27 .......... Amideluxe plie des bouchons comme un homme. 02:01:56 .......... That's a wrap. BIBLIOGRAPHIE Manovich, Lev. 2002. « What is Digital Cinema ». site web de Lev Manovich. http://manovich.net/index.php/project... Aronofsky, Darren. 1998. « Pi ». États-Unis : Artisan Entertainment. Scott, Ridley. 1982. « Blade Runner ». États-Unis : Warner Bros. Villeneuve, Denis. 2017. « Blade Runner 2049 ». États-Unis : Warner Bros.

This week follows up from last week's show as John (@kesseljunkie) and Mike (@mumbles3k) discuss Steven Soderbergh's Unsane, a film shot on an iPhone. They discuss what this did for the film, what it could mean for how big budget films are made, whether it could open the market for more filmmakers and writers to get projects made, and more.JOIN THE MISSION!Subscribe in Apple PodcastsFeedback: TheNerdParty.com/ContactFacebook: facebook.com/TheNerdPartyTwitter: @JoinNerdParty #GreatShotKidInstagram: @TheNerdParty #GreatShotKid

Blake Grigsby is a funny, fresh-faced actor and improviser known for his viral YouTube videos. Blake grew up in Naperville, IL and graduated from DePaul University where he majored in Digital Cinema. Having filmed his videos in Chicago, New York, and LA, his content has received attention from both celebrities and various channels, such as A&E, The Huffington Post, Yahoo! News, Mashable, College Humor ABC, FOX News, Good Morning America, and others. The content of his videos on YouTube are improv-based social experiments that are typically light-hearted in nature. Blake enjoys long walks on the beach, aggressive compliments, and sprinkle-covered chocolate doughnuts. SUBSCRIBE TO BLAKE GRIGSBY: http://www.youtube.com/blakegrigsby

A document from Australian theaters shows what tech specs they expect for your digital cinema files. Plus, your questions about SD cards and X-ray machines, the difference between European and American camera models, and how to film a weeks-long time lapse.

Ranting about the MyFitnessPal data breach.

Anthony S. Lenzo is the President and owner of Air Sea Land Productions (ASL) which was established in 1994. His primary focus in the production industry continues to be Digital Cinematography – both underwater and on land. He has worked in various capacities in the production industry as Director of Photography, Camera Operator, Underwater Camera Operator, Engineer, Inventor, Jib Operator and Equipment Manufacturer. Anthony is a five-time Emmy Award winner for Innovative Camera Systems, POV Technician, Electronic Cinematographer and Technical Team Remote. Anthony’s career began in the late 80’s, working for All Mobile Video, where he gained extensive knowledge of all aspects of video production. Five years later, Anthony started operating camera cranes and invested in several Jimmy Jib cranes. Soon after, ASL housed the largest inventory of Jimmy Jibs on the east coast. In 1988, Anthony began scuba diving and shooting video with his first underwater housing, propelling his career in the direction of underwater cinematography. He later became a consultant in the design of the Amphibico Amphibicam HD underwater housing, and was one of the first to take the high definition format underwater. In 2004, Anthony used the housing on one of his more memorable shoots – Lakeshore Entertainment’s feature film “The Cave” – with his dear departed friend and colleague, Wes Skiles. Anthony’s talent as a camera operator, along with his innovations in the field of videography, landed him his five Emmy’s. When ESPN launched the first X-Games in 1995, Anthony introduced several Point of View cameras to the world of extreme sports, one being the “Rope-Cam.” To implement this invention, Anthony imbedded a super small waterproof camera in the towline of wake boarders and water skiers. This concept and design won him his fifth Emmy Award for Innovative Camera System. In 1999, Anthony combined his knowledge of both Jibs and underwater camera systems and built the Pelicam, the first underwater camera crane. Challenged by physics, Anthony broke the barrier of limitations he faced when attempting to submerge a jib system and the necessary counterweight balance, and designed a counterweight transfer system. This allowed a camera on a crane to start as high as 30 feet in the air and dive underwater in one clean shot. He used his underwater jib design to shoot for a variety of networks including MTV, ABC and CBS. In June of 2000, Anthony designed and built a POV system into the eyewear of U2’s lead singer, Bono, for the U2 Elevation tour. He attached the camera to electronics in a vest worn by Bono, transmitting a signal from Bono’s POV camera to 40 foot overhead projection screens. The camera proved to be a success on the tour, and footage from the “Bono Cam” was also used in the DVD of the tour. Anthony co-created, produced and shot two documentaries in 2004. His first documentary production was “On A Single Breath,” a story about the competition of freediving and his second, “Free-Flight,” a thrilling documentary on paragliding and ultralight aircraft flying. Anthony has created several original HD titles such as “Visions of the Seas: Encounters” and “Ocean Aquarium,” two of the top-selling Blu-Ray titles for DVD International(www.HDscape.com). He has also created an educational underwater children’s adventure DVD, “The Magic Pool.” Anthony successfully designed the BLuFISH HD underwater housing for the Iconix, the first HD POV camera. He also assisted in the design of the Amphibicam HD underwater housing, designed products for the RED One such as the “RIP-Kit,” and designed the T-Bag camera splash bag. The T-bag allowed Anthony to easily capture the entire opening of Showtime’s “The Big C” and several shots of the opening of HBO’s “Boardwalk Empire” with the RED One used both in and near water. One of Anthony’s passions is traveling to exotic locations and capturing spectacular underwater HD footage with a variety of cameras. Anthony’s other passion is inventing. His continual goal is to create and invent for a variety of markets and industries. His favorite quote is from Albert Einstein: “Imagination is more important than knowledge. For knowledge is limited, whereas imagination embraces the entire world, stimulating progress, giving birth to evolution.” The skills and knowledge Anthony has acquired in the production industry have made Anthony S. Lenzo and his company Air Sea Land Productions successful and reputable names in the industry. His expertise continues to be sought after in the new era of Digital Cinema.

Mary Spio is Chief Visionary & Product Architect at CEEK VR. She started her career as a Deep Space Engineer working with companies such as Boeing Digital Cinema, Intelsat and Aerospace Corp developing technologies that have changed media and communications. Through her ventures she's provided technical guidance and content solutions for over 200 radio stations, Microsoft XBOX, Tribune News Company, Coca Cola, Toyota and much more. Every once in a while something comes along with the potential to shift the way we do things, as a Digital Cinema pioneer at Boeing, she had the rare opportunity to help create the technology that changed the entire movie distribution paradigm working with Lucas Films, 20th Century Fox and other major studios. From there she pioneered an online video distribution platform that became the defacto standard for many media companies and brands to distribute their content digitally. And now…here she is again building what she believes will be the standard for mixed reality content creation and distribution CEEK. Mary talks with Jason about where virtual reality is now, where it's going and what it all means for the individual. Key Takeaways: [2:28] How quickly technology in the virtual reality world is changing [4:57] The best VR technology on the market today [6:31] The difference between virtual and augmented reality [9:34] Mary describes a virtual reality experience [12:17] How CEEK has had to meld their new technology with existing file types [15:35] The consumer readiness of VR technology and how phones might be the first things targeted [18:05] How Mary got into the VR world [20:56] The entry cost for VR technology Website: www.ceek.com

Mary Spio is Chief Visionary & Product Architect at CEEK VR. She started her career as a Deep Space Engineer working with companies such as Boeing Digital Cinema, Intelsat and Aerospace Corp developing technologies that have changed media and communications. Through her ventures she's provided technical guidance and content solutions for over 200 radio stations, Microsoft XBOX, Tribune News Company, Coca Cola, Toyota and much more. Every once in a while something comes along with the potential to shift the way we do things, as a Digital Cinema pioneer at Boeing, she had the rare opportunity to help create the technology that changed the entire movie distribution paradigm working with Lucas Films, 20th Century Fox and other major studios. From there she pioneered an online video distribution platform that became the defacto standard for many media companies and brands to distribute their content digitally. And now…here she is again building what she believes will be the standard for mixed reality content creation and distribution CEEK. Mary talks with Jason about where virtual reality is now, where it's going and what it all means for the individual. Key Takeaways: [2:28] How quickly technology in the virtual reality world is changing [4:57] The best VR technology on the market today [6:31] The difference between virtual and augmented reality [9:34] Mary describes a virtual reality experience [12:17] How CEEK has had to meld their new technology with existing file types [15:35] The consumer readiness of VR technology and how phones might be the first things targeted [18:05] How Mary got into the VR world [20:56] The entry cost for VR technology Website: www.ceek.com

Mary Spio is Chief Visionary & Product Architect at CEEK VR. She started her career as a Deep Space Engineer working with companies such as Boeing Digital Cinema, Intelsat and Aerospace Corp developing technologies that have changed media and communications. Through her ventures she's provided technical guidance and content solutions for over 200 radio stations, Microsoft XBOX, Tribune News Company, Coca Cola, Toyota and much more. Every once in a while something comes along with the potential to shift the way we do things, as a Digital Cinema pioneer at Boeing, she had the rare opportunity to help create the technology that changed the entire movie distribution paradigm working with Lucas Films, 20th Century Fox and other major studios. From there she pioneered an online video distribution platform that became the defacto standard for many media companies and brands to distribute their content digitally. And now…here she is again building what she believes will be the standard for mixed reality content creation and distribution CEEK. Mary talks with Jason about where virtual reality is now, where it's going and what it all means for the individual. Key Takeaways: [2:28] How quickly technology in the virtual reality world is changing [4:57] The best VR technology on the market today [6:31] The difference between virtual and augmented reality [9:34] Mary describes a virtual reality experience [12:17] How CEEK has had to meld their new technology with existing file types [15:35] The consumer readiness of VR technology and how phones might be the first things targeted [18:05] How Mary got into the VR world [20:56] The entry cost for VR technology Website: www.ceek.com

In the pilot episode of our new podcast, the Great Escape team get together to chat about the influence of high quality digital cinema cameras on the indie film making scene. It doesn't all go to plan and we frequently … Continue reading →

In this video I discuss that you can plug into a series 2 digital cinema projector specifically discussing the DVI and HDMI inputs. With […]

While it’s true that affordable digital cameras and editing software have put impressive means of production into the hands any boot-strapping filmmaker with a dream, digital filmmaking at the highest end of TV and motion pictures is actually more complex and more expensive than the days of celluloid-only production.     In this podcast, David Newhoff discusses these issues and more with cinematographer Steven Poster. Poster has more than 50 credits as Director of Photography, has served as president of the American Society of Cinematographers, and is currently the National President of theInternational Cinematographer’s Guild. David spoke to Steven in Los Angeles via Skype. Recorded in September 2012. 

Advanced Specialty Lighting (ASL – http://www.aslamps.com) designs and manufactures precision optical products for the entertainment, industrial and scientific markets. In this video I talk […]

Out of the many presentations at Cinemacon this year, this would be one of the more interesting on the technical sides. The panel discusses […]

Out of the many presentations at Cinemacon this year, this would be one of the more interesting on the technical sides. The panel discusses […]

David Handcock of Screen Digest delivers one of the more important presentations of Cinemacon 2013. With a presentation containing mainly slides of data, he […]

In this video I go over how a cinema class digital projector works. Showing you the light engine, light path, and many other aspects […]

In this video I take you through a typical service call on a Digital Cinema Projector. In this example I have to swap out […]

In this video I cover the new smaller DCI approved digital cinema projectors.  All three manufacturers (Barco, Christie, NEC) who are licensed to produce […]

In this Episode of the ColorCast, the Coloristos discuss Digital Cinema Packages, or DCPs, the industry standard mastering format for Digital Cinema. They cover the current shift from film negative to DCP for theatrical distribution, several popular DCP creation packages, as well as the benefits and implications for content creators and theater owners. The Coloristos ColorCast is a monthly podcast about Film and Television Color Grading, Color Science, and Post-Production. If you're interested or involved in color grading, finishing, and digital intermediate post-production, this show is for you.The Coloristos are:Josh Petok, a colorist working on reality and episodic television in Los Angeles.Juan Salvo, a colorist and online editor for films and commercials in New York.Jason Myres, a colorist and post-production engineer in Los Angeles.

Blackmagic Cinema Camera features a 2.5K image sensor with 13 stops of dynamic range and compatibility for EF and ZE mount lenses. This camera is set to ship starting in July 2012. Find out all the camera's features and recording media here.

Blackmagic Cinema Camera features a 2.5K image sensor with 13 stops of dynamic range and compatibility for EF and ZE mount lenses. This camera is set to ship starting in July 2012. Find out all the camera's features and recording media here.

Miro 320S is a 3lbs digital cinema quality camera that allows the user to shoot 1540 fps at 1920 x 1080 12 bit uncompressed raw files. The Miro has 12GB’s of internal memory and is used in conjunction with an SSD memory device called the Cineflash. The user can also tap into the HD-SDI out and record any number of files, including Pro Res. Mitch Gross, from AbelCine, will touch on some workflow solutions and what types of productions this camera might be best suited for as well as much more.

Miro 320S is a 3lbs digital cinema quality camera that allows the user to shoot 1540 fps at 1920 x 1080 12 bit uncompressed raw files. The Miro has 12GB’s of internal memory and is used in conjunction with an SSD memory device called the Cineflash. The user can also tap into the HD-SDI out and record any number of files, including Pro Res. Mitch Gross, from AbelCine, will touch on some workflow solutions and what types of productions this camera might be best suited for as well as much more.

This is a recording of a interview on a radio show called Tech-Talk-Radio (http://techtalkradio.com.au) a weekly tech Radio show and podcast.  In this interview […]

University of Nebraska-Lincoln Professor of Film Studies Wheeler Winston Dixon pays his final respects to 35mm film.

In this video I discuss the trends in cinema Automation as we go into the world of Digital Cinema.

Diese Vorlesung führt in digitale Film- und Videotechnik ein.

Diese Vorlesung führt in digitale Film- und Videotechnik ein.

Get info about new Sony gear right from the experts. Why the NXCAM 35mm Camcorder NEX-FS100UK is better than a Canon DSLR for your video production? Use XDCAM HD workflow and shopping for a server? Check out the XDSPD2000 professional media station. If you have a XDCAM HD PDWU1 is it worth getting the U2? MCS8M switcher is small has the right inputs and outputs. You can use it in a flight pack, production studio, house of worship and more.

Get info about new Sony gear right from the experts. Why the NXCAM 35mm Camcorder NEX-FS100UK is better than a Canon DSLR for your video production? Use XDCAM HD workflow and shopping for a server? Check out the XDSPD2000 professional media station. If you have a XDCAM HD PDWU1 is it worth getting the U2? MCS8M switcher is small has the right inputs and outputs. You can use it in a flight pack, production studio, house of worship and more.

University of Nebraska Film Studies professor Wheeler Winston Dixon discusses the demise of traditional 35mm film and the beginning of digital films.

Have you ever wondered how you can see a bullet shoot out of a gun? Rich Robinson from Vision Research show cases the Phantom v710 ultra high speed and v640 large sensor cameras. For more information log onto www.visionresearch.com

Have you ever wondered how you can see a bullet shoot out of a gun? Rich Robinson from Vision Research show cases the Phantom v710 ultra high speed and v640 large sensor cameras. For more information log onto www.visionresearch.com

1 Beyond Wranglers for Media Management on site offers flexible and customizable solutions for on location SD, HD or 3D video shoots to CF cards, SxS cards, P2 cards , SD cards and the Phantom CineMag to eSATA drives, external hard drives, LTO tape or edit your video production on location.

1 Beyond Wranglers for Media Management on site offers flexible and customizable solutions for on location SD, HD or 3D video shoots to CF cards, SxS cards, P2 cards , SD cards and the Phantom CineMag to eSATA drives, external hard drives, LTO tape or edit your video production on location.

Chat with Ted Schilowitz from RED Digital Cinema Camera Company at NAB 2008 about the Red One. The Scarlet and Epic prototypes in the video look very different from their final release in 2011. Digital Cinema Technology has eclipsed film cameras and the Red One was one of the first cameras to usher in the industry switch.

Chat with Ted Schilowitz from RED Digital Cinema Camera Company at NAB 2008 about the Red One. The Scarlet and Epic prototypes in the video look very different from their final release in 2011. Digital Cinema Technology has eclipsed film cameras and the Red One was one of the first cameras to usher in the industry switch.

Click on Image to Watch Video in QuickTime Player. Please wait. This encode doesn't fast start (bug in 3ivx) so you have to wait for the full 54mb download before autoplay does begin. Thank you for your patience.Click Here to Download and Listen to the 52.5 minute 12 MB mp3 Presentation Audio on your iPodCornerstone Technology for Diffusion of Digital CinemaSony SXRD 4K ProjectorsPresentation to the IEEE SCV Monterey Bay SubsectionBob Lofland, Support EngineerSony Broadcast Division, San Jose CA8.24.05 Digital Media Factory, Santa Cruz CAThe technology and future deployment strategy of these new quad HD resolution Digital Cinema projectors for commercial motion picture theatrical houses. A dozen are already sold in the Northern California Bay Area already. These projectors will be going into a theatre near you within the next few months as Sony deploys them into movie houses this fall 2005 throughout the United States.They are known as the 4K projector because they project at a pixel width and height of more than twice that of HDTV - 4096 wide x 2160 high. This technology quadruples the resolution of modern HDTV projectors and provides a contrast ration of 2000 to 1 with up to 10,000 ANSI lumens.With such impressive specifications, these projectors are expected to provide the cornerstone enabling digital cinema to replace the presently ubiquitous 35mm theater movie projector. The talk goes beyond describing the enabling technology - Silicon Crystal Reflexive Displays. It also deals with Sony's strategy for digital cinema deployment and reviews infrastructure issues to put these projectors to use. They are shipping this month.This lecture with technical diagrams explains in depth how this new technology works. These projectors are in the $100k price range. A smaller home theatre Qualia C-340- projector from Sony is available using the same technology for only about $12k. Sony Press ReleaseSony Broadcast Large Venue/Digital Cinema pageEngadget.com's post with comments

Click Here to Download and Listen to the 52.5 minute 12 MB mp3 Presentation Audio on your iPod. Details below.Thank you for being here. You may get a free subscription to our iTunes client feed by clicking here. Or get a free RSS 2 subscription for other clients by clicking here.We really appreciate your patronage. Please leave any comments you may have about what you do and don't like about our service here. Or email comments and questions to info at FutureMedia.org. Thanks.Footnote - iTunes RSS Multimedia Client only recognizes one Audio, Video or PDF item (known as "enclosures") per post - the first one. So it is necessary to make a separate post for this audio to reach iTunes subscribers even though it is in the previous post as a second enclosure. TB