wip with verbage by Dr. Monster on Flickr.“Green Lips” by Travis Pitts

wip with verbage by Dr. Monster on Flickr.

“Green Lips” by Travis Pitts

notpulpcovers:

1955 … venom dripping jaws! http://flic.kr/p/oNwBPx

notpulpcovers:

1955 … venom dripping jaws! http://flic.kr/p/oNwBPx

We’re targeting someone who enjoys films, but who is at the point in life where their career is getting more serious, their family life is expanding, and they want to be able to experience new and interesting films, but there are more important priorities for them. We want to be there to say, we know that your time is limited and valuable, we want to make you feel like you’re making the most out of your time. There are so many great things out there, but you can’t expect everyone to search for them. There are a lot of companies out there that talk about making life easier, but is life better when your most treasured resource - time - is being wasted? So for our typical customer, time is truly valuable.

KC McLeod, Vyer Films CEO 

We talk to KC McLeod about Vyer Films, an upstart subscription service aims to introduce curation into the formula.

(via futureoffilm)
Been thinking about this diagonal measurement conundrum, so I whipped up this little graphic.

So, we have iPad, iPhone, and some sort of candy bar, all 5.5” screens. Screen areas get even more amusingly divergent when we start talking about television and theater screen sizes. Wacky.

Don’t you think square inches or square feet would be a more accurate metric to describe a screen with?

Been thinking about this diagonal measurement conundrum, so I whipped up this little graphic.

So, we have iPad, iPhone, and some sort of candy bar, all 5.5” screens. Screen areas get even more amusingly divergent when we start talking about television and theater screen sizes. Wacky.

Don’t you think square inches or square feet would be a more accurate metric to describe a screen with?

notpulpcovers:

1949-Motion Picture Daily http://flic.kr/p/nh4mtt

Mighty Joe Young!

You can hear Cinefex publisher Don Shay and I talk about Mighty Joe Young, and several other Willis O’Brien movies, on The Optical podcast Episode 007!

notpulpcovers:

1949-Motion Picture Daily http://flic.kr/p/nh4mtt

Mighty Joe Young!

You can hear Cinefex publisher Don Shay and I talk about Mighty Joe Young, and several other Willis O’Brien movies, on The Optical podcast Episode 007!

soundonsight:

‘The Art of John Alvin’ Book Review

Drew Struzan might be the name you first think of when someone mentions movie poster artist, but few can argue that the work of John Alvin is not a equally iconic. Alvin’s art has be collected in great effort into one tight package in The Art of John Alvin by his wife Andrea Alvin. The high quality coffee table book collects the late artist’s film poster art in their final form and in the earliest stages when he was just starting to figure out the layouts for some of the posters that would go on to be some of the most iconic of all time.

Click here to expand the article 

postatomichorror:


Post Atomic Horror episode 192, covering Accession and Rules of Engagement is available now. Click!


Our good friends AAl and Matt from Episode 001 are still cranking out their great Star Trek podcast, the Post Atomic Horror. I highly encourage you to give them a listen!

postatomichorror:

Post Atomic Horror episode 192, covering Accession and Rules of Engagement is available now. Click!

Our good friends AAl and Matt from Episode 001 are still cranking out their great Star Trek podcast, the Post Atomic Horror. I highly encourage you to give them a listen!

Mix contributor Larry Blake examines the topic of immersive sound for cinema and its three formats: Auro-3D Audio, Dolby Atmos, and DTS, in the September 2014 issue of Mix

I you enjoyed our talk with sound designer Make Mangini in Episode 006B, check out this look at the technology behind the latest cinema surround formats. > The introduction in 2005 of the Digital Cinema Initiatives standard brought with it the largest wholesale change in motion picture presentation since the arrival of widescreen cinema and stereophonic sound in 1953. It differed greatly from the past because picture and sound specifications had already been carefully vetted by committees with an eye toward scalability of the DCPs (Digital Cinema Packages) that are sent to theaters. For the image, this meant 2k resolution was the minimum, but 4k was supported; in sound, all theaters were expected to have basic 5.1 systems, although the standard allowed for a total of 14 channels. Two additional channels are reserved for mono mixes for hearing impaired and visually impaired patrons, the latter being narration on top of the mix. However, it was inevitable that variations would soon occur, and these were first in picture with various implementations of 3-D. As soon as this was starting to sort itself out in 2012, two different immersive sound formats arrived to break the 7.1 barrier that was the limit for almost all previous DCPs. First, in January 2012 Auro Technologies, in association with Barco Cinema, introduced Auro-3D with the film Red Tails in Auro 11.1, which was shown in about 2 theaters in the U.S. The development of Auro-3D began seven years prior, with research that CEO Wilfried Van Baelen had done at his Galaxy Studios in Belgium. The Auro-3D cinema format, in its basic 11.1 cinema iteration, adds a 5.0 height layer—three screen speakers and two upper surround channels—above the standard 5.1 system—plus a top layer comprising a center-ceiling “Voice of God” channel. The system can be expanded to 13.1 with the splitting of the lower surrounds into four channels, as in 7.1. Utilizing their proprietary Auro Codec, the additional tracks are encoded in the four least significant bits of a standard 24-bit, 48kHz mix, so that only one 5.1 or 7.1 printmaster needs to be shipped on DCPs, with the additional height and top channels decoded in the cinema. Auro Technologies has a complete suite of plug-ins to aid mixers, including the Auro-Panner, to place sounds in the 3-D field, and Auro-Matic Pro, which allows upmixing of mono, stereo and 5.1 elements to their 11.1 and 13.1 formats. The second “salvo” in the new format wars occurred in June 2012 when Dolby Laboratories introduced its Atmos format for the Pixar animated film Brave on 14 screens. Dolby had been researching expanding cinema speakers for years, going back to 2002 and We Were Soldiers, which utilized an overhead VOG channel.

vimeo:

Terry Gilliam, the man who brought us Brazil, returns to his surreal futuristic side with Zero Theorem.

Buy it or rent it on Vimeo On Demand

I’ve been waiting to see this one for quite a while. Can’t wait to see the VFX too!

Source: vimeo