Nikon Z6, Fuji XT3, Unboxing & massive giveaway – TOGLIFE 18 November

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https://www.youtube.com/watch?v=7PmGtCh_uGI

An Interesting Look at the Evolution of a Camera Stabilizer to a Military Weapon

An Interesting Look at the Evolution of a Camera Stabilizer to a Military Weapon

Examining the evolution of just about any tool or technique in cinema can be pretty neat. Seeing the variety of ways creativity and technology can come together over time seems to just add more enjoyment to some of our favorite films.

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articles?d=yIl2AUoC8zA articles?d=qj6IDK7rITs articles?i=3rpbmTqKUDU:sJX9OwtkMeE:gIN9v

https://fstoppers.com/gear/interesting-look-evolution-camera-stabilizer-military-weapon-309128?utm_source=FS_RSS&utm_medium=RSS&utm_campaign=Main_RSS

эobile HomesҠReview: Imogen Poots Screams for Recognition.

A mother sits across from her son stuffing his face with scraps and contemplates the insane force of love found in the parable of Solomon. The story of one mom denying ownership of her child to spare them a vicious royal halving is something everyone on this planet has heard and dismissed. Neat, tidy morality packaged for children. What possible use does it have in the harsh mathematics of daily life?

Towards the end of Mobile Homes, when the Sunday schooling starts to slip from the lips of Imogen Poots, you must fight the eye-roll that’s triggered. She’s a child herself, and Solomon is the only remaining tool in her arsenal. Writer/director Vladimir de Fontenay has challenged your empathy up until this point, and the script might have left you off the hook if not for the staggering heartache of its lead actress. To deny Poots would be a repulsive judgment on your character.

For the last hour and a half, the film has confined its audience to the wandering destitute misery of young mom Ali (Poots), her dismal upbringing of 8-year-old Bone (Frank Oulton), and her catastrophe-seeking boyfriend (Callum Turner). This trilogy of terror survives on sheer momentum, where every decision is a last-ditch effort and succeeds only because there is run-time left to fill. Just another batch of poverty-porn players.

Ali never wanted this child, but she also did not have the smarts or the family to eject Bone from her tornado of poor decisions. From birth, he’s been one of the gang, an instrument to dine and ditch, sell drugs, and maintain monstrous roosters for cockfights. Maneuvering through a gauntlet of dangerous circumstances and individuals can only amount to a cold calculation, but having not done the work the family fails to find the obvious summation of despair. They just keep going where others might have found a bridge to jump off.

The title of the film comes into play when one of those inevitable close calls with violence forces Ali and Bone to escape into the back of a mobile home on the move. For the first time in her life, Ali experiences the possibility of normalcy under the guidance of Robert (Callum Keith Rennie), a builder of cookie-cutter domiciles that offers her a job and a roof over her head. When he refuses to accept her usual form of payment, Ali finally considers the future for herself and Bone. Such fanciful notions are terrifying and infectious, forcing her to contemplate the story of Solomon and choices that might benefit Bone over her own wants and desires.

De Fontenay may be paying tribute to the lost in America, showcasing the future we all face as the wealth around us circles the wagons and readies for war. Or he could just be putting our feet to the fire, antagonizing a nation of petulant children trapped in an existence impossible to escape. Ultimately, I’m not that interested in what is driving his art. Poots is the reason we’re willing to suffer the hell we all know is out there and are desperate to ignore.

Mobile Homes allows Poots to smash against every possible human experience. Jumping from one moment to the next, we can rage alongside Ali, shield ourselves from her depravity, fall into her void of hopelessness, and sigh in her brief moments of relief. Ali is an exasperating character, required by her existence to embrace extremity, and as such, she is compulsively watchable. Poots propels herself from the big to the small and back again; a lesser performer could cause emotion sickness.

Poots has never disappointed in her performances, but we’re still waiting for her to break through to the mainstream and get her blockbuster spotlight. She deserves better than the girl in Fright Night and That Awkward Moment. With films like Mobile Homes, Frank and Lola, and Green Room, Poots has firmly established her footing in the field, and I’m ready to start sending out Fan Club subscriptions. Let’s not waste her on the rote.

The post ‘Mobile Homes’ Review: Imogen Poots Screams for Recognition. appeared first on Film School Rejects.

https://filmschoolrejects.com/mobile-homes-review/

The Friday Roundup – Working it Like a Pro, Sin City and More

Professionals are not “Careful”
Over the past few weeks I have seem to have been stumbling across a lot of videos showing how to use masks and motion tracking in videos.
Most fully loaded video editing software these days has at least some kind of rudimentary ability to execute these tasks.
Like many editing features we have at our finger tips the one main limit on all…
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Cooke 35-140mm Anamorphic/I SF: your new go-to lens with Special Flair

Cooke 35-140mm Anamorphic/I SF: your new go-to lens with Special Flair

Identical to the standard 35mm-140mm Anamorphic/i zoom, the new lens included in the ‘Special Flair’ range offers more flare and other aberrations that are synonymous with the anamorphic look.

Cooke 35-140mm Anamorphic/I SF: your new go-to lens with Special FlairAnnounced as “your new go-to lenses for the new era of anamorphic filmmaking”, the Cooke 35-140mm i zoom with 4x zoom ratio and the extreme telephoto with the Cooke 45-450mm Anamorphic/i zoom with 10x zoom ratio represent two Cooke Optics solutions that offer true, front anamorphic zooms with the creative flexibility that cinematographers have waited years to have.

Now Cooke Optics adds a new member to its Anamorphic/i SF family, due to the demand of cinematographers around the world. The new Cooke 35-140mm Anamorphic/i SF picks the atributes that make the original lens popular and introduces a specially developed coating that adds even more flare, in addition to the oval bokeh and other aberrations that are synonymous with the anamorphic look. The Anamorphic/i SF is a true front anamorphic zoom with 2x squeeze, a cam-style focus mechanism, /i Technology to capture lens metadata, and, of course, the Cooke Look. Colour and depth of field are matched to the rest of the Anamorphic/i SF range.

Cooke 35-140mm Anamorphic/I SF: your new go-to lens with Special Flair

Cooke Anamorphic Full Frame Plus 50mm

The Anamorphic/i SF range was used to shoot two of the biggest box office hits of October 2018, A Star Is Born (Warner Bros) and Venom (Sony).

Les Zellan, Chairman, Cooke Optics, said, “Cinematographers love the bokeh and the kicked-up flare that they get with the Anamorphic/i SF zoom lenses – this additional character, combined with the warmth of the Cooke Look, gives yet another option for storytelling. With many cinematographers asking us to add this ‘special flair’ to the family, we were happy to oblige.”

The Cooke Anamorphic/i SF 35mm-140mm zoom is now available to order. Its introduction reflects a growing interest in the anamorphic format. Aware of the interest cinematographers have for these products, Cooke Optics also presented at the recent IBC 2018 its 50mm focal length of the new Anamorphic/i Full Frame Plus range, designed to meet the growing appetite for large format production, while applying the popular anamorphic characteristics including flare and oval bokeh.

The post Cooke 35-140mm Anamorphic/I SF: your new go-to lens with Special Flair appeared first on ProVideo Coalition.

https://www.provideocoalition.com/cooke-35-140mm-anamorphic-i-sf-your-new-go-to-lens-with-special-flair/

The Friday Roundup – Common Mistakes, YouTube Tips and Motion Paths

How To Structure Your Videos For More Watch Time
Although the video below was intended specifically for YouTube creators I think it has a lot to offer the average person in terms of how you and I create our own projects.
I think one of the first concepts that tends to go out the window when you are immersed in an editing project is that of the viewer’s perspective.
Too…
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GoPro: Andy Lewis Epic Double Base Jump

Jump, repack and jump again with GoPro awards recipient Andy Lewis as he takes on the Doric Column in Moab area.

Shot 100% on GoPro – http://bit.ly/2ETODas

Mounts used in this video – http://bit.ly/2EVGcLP

Comment below on your favorite part!

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https://www.youtube.com/watch?v=PxIhTy0YhpY

Building Your Own Photo Backdrop Wall

Building Your Own Photo Backdrop Wall

Seamless paper backdrops among other backdrops are great for photography backgrounds, but sometimes, you want a background with some real texture. While having several different walls painted different colors or having different textures sounds great, the space and size of a studio can put limits on what you can actually do.

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articles?d=yIl2AUoC8zA articles?d=qj6IDK7rITs articles?i=nfYHwL6CmoY:pVW1B-QlEpE:gIN9v

https://fstoppers.com/diy/building-your-own-photo-backdrop-wall-301026?utm_source=FS_RSS&utm_medium=RSS&utm_campaign=Main_RSS