- Werner Herzog: ”Trust in my wild fantasies” – Mr. Herzog, do you think someone would ever be crazy enough to hire you to direct an epic blockbuster? It wouldn’t be crazy at all, because I am capable of producing huge films for a fraction of the money that Hollywood would spend. A big epic film like Aguirre, the Wrath of God, if Hollywood started to contemplate this film, they wouldn’t think under 50 million dollars. That is the scope, no one would dare to touch it. However, the grand total budget of the film was 360,000 dollars, at the time in 1970. Let’s just say that today it would be twice as much, let’s say 700 or 800 thousand dollars.
- Pixar Technical Memos – HUBBA HUBBA mä näistä mitään tajua
- Don Simpson’s and Jerry Bruckheimer’s Blue Period : They Were the Ultimate Hollywood Success Story. But in Tinseltown, Their Failure Was an Even Better Yarn (LA Times, 1993) –
- An Examination of the Star Trek: TOS Credits –
- The Aesthetics of High Frame Rate Cinema – Creative COW – For projection frame rate, 60 fps is enough. In principal, there isn’t a big difference between 60 and 120 fps because the motion blur is so small the human eye cannot really differentiate this high frame rate. It will be different if you have a 4K or 8K screen where you look at a wide angle, then this will be different. But in a regular theatre, 60 fps will be enough.” What everyone agrees on is that 48 fps is just not enough. “You see 2K and HFR every night when you watch TV,” Galt says. “Depending on what you watch, it’s 60 fields per second. I don’t think that this is really going to come of age until you’re doing at least 60 fps and you’re doing true 4K acquisition and true 4K projection. Then you’re going to see a significant difference.”
- Mel Brooks on how to play Hitler, and how he almost died making Spaceballs – MB: I knew there was going to be laughing. The first time I used it was during The Twelve Chairs. There was too much laughter; I couldn’t shoot. So I went out and bought 100 white handkerchiefs and said, “Stick this in your mouth.” And then, with Young Frankenstein, I bought 200—it was a bigger crew, a lot of people. I said, “If you’re not in the scene, take this handkerchief, and when you feel you’re going to laugh, shove this in your mouth.” And every once in a while, I’d be shooting a scene and I would turn, and I could see a sea of white handkerchiefs. So I said, “Okay, this is going to be funny. This is good.”
- Fox Transferring ‘I, Robot’ to 3D Blu-ray – The studio is working with JVC Kenwood, which has developed a process that allows for the conversion of 2D movies to 3D at a third of the $50,000 to $70,000 per minute it costs to transfer a typical feature film to 3D. Specifically, the new process significantly reduces the amount of labor required to “rotoscope” each frame of a movie, according to Fox.
- MELANCHOLIA or, The Romantic Anti-Sublime – 100 000 merkin juttu
- SFX’s Nick Setchfield revisits each and every 007 adventure in a week by week countdown to Skyfall – via @anttipesonen
Tintin seikkailut oli vauhdikas elokuva, jonka haluan katsoa kotonakin. Siispä suuntaan Amazoniin, josta blu-ray lähetetään Suomen suuntaan kymmenellä punnalla.
Mutta hetkinen, elokuvateatterissahan raina näytettiin kolmiulotteisena. Minulla ei vielä ole laitteita, joilla leffan voisi katsoa stereona, mutta kenties joskus tulevaisuudessa hankin sellaiset. Ehkä voisin sittenkin siis ostaa Tintin 3d-version – hintaeron täytyy olla mitätön.
Mitä hittoa? Hinta on melkein kaksinkertaistunut, vaikka bittien polttaminen blu-ray-aihiolle maksaa ihan saman verran, oli kuva sitten litteä kuin lahna tai syvä kuin Mariaanien hauta. Teatterissa lisähinta voidaan sentään juuri ja juuri perustella ylimääräisten kustannusten kattamisella (projektori ja rillien vuokra), mutta himassa ne on pulitettu jo kuluttajan kukkarosta.
Kusetuksen haju pistää nenään kuin Uimaharjun sellutehdas 1980-luvulla.