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This Sunday, the critically-acclaimed sitcom, Arrested Development returns as a Netflix Original series with 14 new episodes. The show — which followed the trials (literally) of the Bluth family — had its run on network television abruptly end with a truncated third season in 2006.
This coming Sunday, HBO premiers Steven Soderbergh’s latest film, Behind the Candelabra, starring Matt Damon and Michael Douglas. Based on the memoir of Scott Thorson, the movie describes the life of Liberace and his live-in lover Thorson. Soderbergh spoke to Vulture a few months ago and talked a little bit about the movie and his career in general. The interview includes this insightful advice for aspiring filmmakers:
What do you think people mean when they call a film Soderberghian?
I have no idea. But never use that word to describe your movie in a pitch meeting because it won’t get made.
Behind the Candelabra premiers on May 26th on HBO.
Australian inventor and filmmaker, Pawel Achtel, has introduced the “3Deep” underwater rig – the first to resolve full 5K 3D images underwater. 3Deep circumvents the need for dome or flat faced viewing windows, instead using Nikonos lenses designed specifically for underwater use. This methodology eliminates much of the distortion, chromatic aberration, and lost resolution that is common with underwater rigs.
The Hollywood Reporter explores the use of 3D in The Great Gatsby and other films in a new article. Director Baz Luhrmann reportedly made the decision to shoot in 3D after seeing a screening of Hitchcock’s Dial ‘M’ For Murder in its original 3D version.
Steven Soderbergh spoke at the San Francisco International Film Festival last month on the “State of Cinema.” The entire talk is engaging and worth watching. A few short comments on technology deserve attention:
I love all this new technology, it’s great. It’s smaller, lighter, faster, you can make a really good-looking movie for not a lot of money, and when people start to get weepy about celluloid, I think of this quote by Orson Welles when someone was talking to him about new technology, which he tended to embrace, and he said: “I don’t want to wait on the tool, I want the tool to wait for me,” which I thought was a good way to put it.
Due to great demand, the San Francisco Film Society put the video and its entire transcript online.
This week, the first trailer for Ender’s Game was revealed.
The highly-anticipated adaption of Orson Scott Card’s epic science fiction novel showed footage for the first time publicly at CinemaCon last month. At the time, FirstShowing.net said “We truly are entering a new era of sci-fi, and while Blomkamp’s Elysium and Abrams’ Star Trek will lead the way in the summer, it’s Ender’s Game that will take us to even new heights this November.”
Shot on RED EPIC, directed by Gavin Hood, the film is released on November 1st, 2013.
This year at WonderCon in Anaheim, California, Guillermo Del Toro showed a new trailer for Pacific Rim with previously unseen footage. Like many convention previews, this trailer could have stayed in the vault unseen by the public at large. Thankfully, today, the WonderCon trailer for Pacific Rim hit the internet where it immediately generated all sorts of excitement.
Watch it in HD and discover why Guillermo Del Toro called it “the perfect movie to shoot on RED.”
Released only one week ago, Macklemore and Ryan Lewis’s video for “Can’t Hold Us” has already racked up a staggering 6 million views. We spoke with Ryan Lewis about shooting on RED.
Sam Mestman who has taught post-production at REDucation has a new series on MovieMaker in the DIY category that describes his RED/Final Cut Pro X workflow in elaborate detail. Mestman says “On the most recent film I worked on using this workflow, I was able to get an assembly edit of the entire film done within two days of the film wrapping.”
This short video of hummingbirds feeding was shot on a RED EPIC-M at 225fps with a Canon 16-35mm and 70-200mm by Bruce Douglas Johnson.