Tim, a master of many mediums—audio, film, video, photography—was not interested in being labeled. He was neither a filmmaker nor a photographer. He was, as he often said, working at “transjournalism”—a term he used to describe his multidisciplinary approach.
One of the best pieces I’ve read about transjournalist and Restrepo director Tim Hetherington. With transmedia taking off, it’s no surprise that there’d be transjournalists, I had just never thought about it.
Flickchart’s method is painfully simple. Two movies shown side by side. Pick the one you prefer. Move on.
If you haven’t seen one, or both, just press the button and a new movie pops up. Based on which movie you prefer, Flickchart adjusts your ranking to create your very own Top 20 list.
Of course there’s a Top 20 based on all the users. This is a list I could agree with.
Each film has its own page, based on the data from users and it’s ranking over time.
And you can discuss and debate comparisons.
Though some really are no contest.
It’s simple, addicting, and a fun little site. Of course, there are a few things I wish it had. It is beta, so these could be on the white board.
Ability to import ratings from other sites. Yes, I do like the way Flickchart rates movies. But I’ve spent a considerable amount of time rating stuff on IMDb and Netflix. So it’d be cool if there was some sort of conversion to import those ratings.
More random comparison. I know this is beta, so I’ll cut some slack here. But how many times do I have to compare The Last Samurai?
Profile options. Again, beta. But just in case, there should be more profile options other than photo, change password, and delete ratings. Location and About Me are good places to start.
That’s it. I’m sure most (at least the last two) will come in updates.
I could see their system being something that’s bought and implemented in Netflix or Amazon.
But for now, it’s a fun site to check out. I think some beta invites might be coming my way, so stay tuned.
Riding on the waves of micro-loans, this short doc contest is for films profiling an entrepreneur (they don’t explicitly say, but it seems they want entrepreneurs that live in a poor society, not the next .com start-up). Films only need to be 2-5 minutes for YouTube posting for a shot at the grand prize of $20k.
Good primer on photo permits, which has a lot of similarities to video/film. Hand held is generally fine but things get more complicated when you start putting stuff on the ground. Scott’s post also covers what’s fair game to film from public property, which goes for both stills and moving images. Especially with documentary work, it’s good to keep up on the rules when some rent-a-cop tries to kick you off a sidewalk.
Even if you don’t like the final image, Photoshop tutorials are good for picking up techniques. This selection covers a lot of different styles, so the odds of finding something useful is in your favor.
EW offers their take on the 25 gadgets and innovations that have had the biggest effect on pop culture since 1983. At the top is the DVD Player, Napster, and TiVo.
Game Boy is 20, below Avid and Body Motion Capture. Shouldn’t that be higher? Doesn’t every kid have a hand held video game? Last I checked they weren’t walking around in green spandex surrounded by 20 cameras, cutting their film non-linearly.
This video finally made all the off camera lighting options click and lead to my purchase of the Nikon SB-800 flash. Scott Kelby’sLighting Gear Week was also a great resource and motivation to open my wallet.
So the movie didn’t live up to my hopes, but Annie Leibovitz always does. Short little video covering the shooting of the Vanity Fair photos (though not the epic one above. Nor these Leibovitz photos).
Richard Hammond Presents Bloody Omaha [Indy Mogul] – Really awesome video featuring the power of compositing. 3 actors + After Effects = Saving Private Ryan. It features Richard Hammond, one of the hosts of Top Gear, which is a show you should check out if you haven’t. I’m not a big car fan and I still love it.
Besides building and dressing sets — to help the actors stay in character, every room of every building was fully outfitted — it also fell to the film’s art department to devise a credible stand-in for oil. Mr. Fisk combined food coloring with methylcellulose, a thickener
sometimes used as a food additive. It is an ingredient in a McDonald’s McFlurry dessert, he said. “You can buy it by the trainload.”
On “There Will Be Blood,” in an intriguing corollary to Mr. Day-Lewis’s method acting, Mr. Fisk and his team often practiced a kind of method building. These modest structures were built as they might have been in a small frontier town, starting with the use of salvage lumber. To build the ranch house, “I got together about five carpenters,” he said. “I didn’t have any plans, and I told them not to bring levels. We just marked the space and started laying the foundation. I figured that’s the way they would have done it then.”
As part of your preparation, search out previous interviews the guest has done. Look for topics “the guest really likes to talk about,” advises Miller, and the topics that “fall flat.” The goal: To find a balance between what your audience wants to hear and also what the guest wants to talk about.
The list was derived from a PDF with even more tips, which can be found here.
Here’s a video about the making of the photo above. Yeah, it’s still photography, but the ideas behind compositing can be taken over to the film world. And it’s a really awesome photo.
Digital Media Locator – Lots of libraries now offer eBooks and movies/docs online, for free, as part of your library service. Check this site to see what’s available at your library.
The Afterlife is Expensive for Digital Movies – Celluloid is still king…for archiving at least. This is a really fascinating article from the NY Times about the high costs of storing movies in the digital age, an age that does not do so well against time.
The problem became public, but just barely, last month, when the science and technology council of the Academy of Motion Picture Arts and Sciences released the results of a yearlong study of digital archiving in the movie business…Industry types largely missed the report’s startling bottom line: To store a digital master record of a movie costs about $12,514 a year, versus the $1,059 it costs to keep a conventional film master.
Much worse, to keep the enormous swarm of data produced when a picture is “born digital” — that is, produced using all-electronic processes, rather than relying wholly or partially on film — pushes the cost of preservation to $208,569 a year, vastly higher than the $486 it costs to toss the equivalent camera negatives, audio recordings, on-set photographs and annotated scripts of an all-film production into the cold-storage vault.
To begin with, the hardware and storage media — magnetic tapes, disks, whatever — on which a film is encoded are much less enduring than good old film. If not operated occasionally, a hard drive will freeze up in as little as two years. Similarly, DVDs tend to degrade…only half of a collection of disks can be expected to last for 15 years…Digital audiotape…tends to hit a “brick wall” when it degrades. While conventional tape becomes scratchy, the digital variety becomes unreadable.
Now I have to check all those old hard drives for those classic middle school films, not that much of the world would care if they never reach a screen again.
What: This grant funds first time documentary makers for travel and accommodations at the Full Frame Documentary Film Festival, April 3-6, 2008. For four days, grant recipients will be given access to films, participate in master classes and be mentored by experienced filmmakers. TWO filmmakers will be chosen for the grant in its second year.
Deadline is January 28th.
The Most Expensive Drink at Starbucks – This will keep you going through the night. A 13 shot venti soy hazelnut vanilla cinnamon white mocha with extra white mocha and caramel, all for only $13.76.