Designed as a possible title sequence for a fictitious documentary, this film shows a history of the title sequence in a nutshell. The sequence includes all the names of title designers who had a revolutionary impact on the history and evolution of the title sequence.
Roger Ebert writes a fantastic article on why attending a movie is such a dim experience. You can read the piece here, and also read this piece by Ty Burr at the Boston globe.
I was looking forward to seeing the Green Hornet. When I saw the trailer I thought Seth Rogan’s take on the super hero looked like a lot of fun. But when the trailer indicated that he movie was being released in 3D it subconsciously went to the bottom of my to-see list. With the notable exception of Avatar I just don’t like 3D movies. … Continue Reading
A minor firmware change released for the Canon 5D during the Iron Man 2 shoot allowed cinematographer Matthew Libatique to use it for some of the film’s action sequences.
In a press release which you can read in full here, Libatique explains how a bunch of 5Ds were used to film background plates and crash cam shots during the film’s plot-setting Monaco Grand Prix scenes.
He says:
“The new manual exposure firmware introduced during the shoot enabled us to expose 5D Mark II imagery more similarly to the film we were shooting. That was the sealer for us … There is no other camera that can really get into some of the tight spots that the Canon 5D can, and with the ease that it can. We got extra angles in spots that we wouldn’t have been able to get in 35mm without a lot more effort.”
A series of 5D cameras were mounted alongside the race track to capture footage of passing cars; more were mounted on the cars themselves. One of the movie’s finest action shots, of hero Tony Stark’s car flying up in the air after it’s been attacked by bad guy Ivan Vanko, was captured by a 5D mounted on the car itself, inside a padded impact-protection box.
From one of the most respected voices in the movie industry, Roger Ebert, comes a balanced assessment on the 3D craze that Hollywood is currently going through.
That’s my position. I know it’s heresy to the biz side of show business. After all, 3-D has not only given Hollywood its biggest payday ($2.7 billion and counting for Avatar), but a slew of other hits. The year’s top three films—Alice in Wonderland, How to Train Your Dragon, and Clash of the Titans—were all projected in 3-D, and they’re only the beginning. The very notion of Jackass in 3-D may induce a wave of hysterical blindness, to avoid seeing Steve-O’s you-know-what in that way. But many directors, editors, and cinematographers agree with me about the shortcomings of 3-D. So do many movie lovers—even executives who feel stampeded by another Hollywood infatuation with a technology that was already pointless when their grandfathers played with stereoscopes. The heretics’ case, point by point:
Over-excited opening line with exclamation mark!
Witty remark about vaguely-related topical viewpoint, including somewhat relevant link to a similar post, which expands on this all-to-brief post and simultaneously does wonders for our SEO.
Needless digression, perhaps with thoughtful consideration of the nature of modern media production, and ending in a meaningless rhetorical question?
Final encouragement to just watch the damn video.
Pointless final paragraph, upping the word count. Fractionally.
