Nikita Belomestnykh on LinkedIn: Is Shane Gillis's 'Tires' the Future of TV Comedy? (2024)

Record Hands-Free 4K Video With the Thumb-Sized Insta 360 GO 3Shttps://ift.tt/KrV5ctOIt’s hard to imagine just how far camera technology has come over the years in terms of decreasing size and factor while still increasing recording capabilities and features. The new Insta360 GO 3S Action Camera is a perfect example of what boundaries camera technology is breaking as it’s about as small as you could imagine an action camera being—yet still quite capable with its UHD 4K video recording capabilities.The Insta360 GO 3S also expands upon the popular GO 3 with new Internal Video mode features which unlock fully automatic hands-free recording, plus some additional network compatibility perks all housed in a magnetic body that weighs less than 1.4 oz, making it basically the size of your thumb.Introducing the Insta360 GO 3SLet’s start with the big aspects of this action cam, which are its video recording specs. The GO 3S has been updated to enable UHD 4K video recording and 2.7K slow-motion capture, and this new model expands upon its predecessor while maintaining the same miniscule form factor. Furthermore, Voice Control 2.0 technology, a 2.2" flip touch screen, an image preview on the Action Pod, dual microphones, and longer battery life are among the new features of the GO 3S.There are different built-in flash storage options available, yet all allow you to control the camera, preview your video, and then export the content to your phone via a companion iOS/Android app via Wi-Fi. So you’ll have plenty of functionality regardless of your storage size.The GO 3S is also so small and light that Insta360 reports that you can wear it around your neck, clip it to your collar or skateboard, let your pet run with it, attach it to your dashboard, or do whatever else you’d like to capture action POV content.Creative Effects and UpgradesSimilar to previous Insta360 action cameras, this new GO 3S features plenty of additional creative effects and other features that should give content creators plenty of options outside of just hitting the record. In particular, the GO 3S includes TimeShift to mimic speeding up time and space, PureShot HDR Photo to expand your dynamic range for vivid colors, slow motion for dramatic shots, and Time-Lapse to create fun day or night lapse shots.You can also control your Insta360 GO 3S with your voice using Voice Control 2.0 which gives you even more ways to operate the action camera completely hands-free. You can also record audio with the two built-in mics or even pair your AirPods.Price and AvailabilityThe Insta360 GO 3S is out and available online starting today June 13th, 2024 with the starting option being a 64GB version for just under $400. There are of course other bundle options and a couple of different colors to choose from.Here are the full specs and purchase options for the Insta360 GO 3S:Miniature Action Camera with Action PodUp to UHD 4K Video and PhotosLonger-Life Battery over 2...

Your Freelance Healthcare Questions Answeredhttps://ift.tt/l1TD2qJJust how important are character introductions in film? What are the most important steps you need to take before sending out your script? How do you pay for healthcare as a freelance filmmaker? In today’s episode, No Film School’s Charles Haine and Jason Hellerman discuss:Why writers need to improve their character introductionsExamples of movie intros we loveCopyright - should you copyright your script before sending it outWhy you should join a writer’s group Asking for honest, constructive feedback from your networkThe importance of log linesWhy most production companies don’t offer health insurance Exploring public healthcare exchangesMentionedWhat is a Logline?Subscribe to the No Film School Podcast on:Apple PodcastsSpotifyGoogleGet your question answered on the podcast by emailing podcast@nofilmschool.com.Listen to more episodes of the No Film School podcast right here:This episode of The No Film School Podcast was produced by GG Hawkins.via No Film School https://ift.tt/w1OCdAaJune 13, 2024 at 06:03AM

Sony Acquires the Alamo Drafthouse Theater Chainhttps://ift.tt/ys4iAzNIn a surprising move, Sony Pictures Entertainment has acquired Alamo Drafthouse Cinemas, a unique and beloved theater chain that delivers one of the best possible movie-going experiences. As reported in Bloomberg, this deal “reinforces SPE’s long-held commitment to theatrical exhibition and continued initiatives in experiential entertainment,” said Sony. Despite overall theatrical numbers being down, Alamo Drafthouse was crushing it. They experienced a significant boost in 2023, with box office revenue surging 30 percent compared to the previous year. This impressive growth outpaced the overall North American market, which saw a 20 percent increase in box office revenue, according to ComScore.Sony is committed to theatrical; they don't have a streamer, so they're still focusing on bringing movies to people. Alamo delivers maybe the best theatrical experience out there, with a 'no phones' policy and lots of other amenities. Still, many people are wondering if it's actually legal for a movie studio to acquire a theater chain. If you remember, back in 2020, the Paramount decrees ended. So, this may be the first domino to fall when it comes to a return to vertical integration. What's vertical integration? In Hollywood, vertical integration refers to a studio owning multiple levels of the movie-making process, from production to distribution and exhibition. Historically, this was common practice during the "Golden Age of Hollywood" (1920s-1950s).Sony, owning their own theater, falls under this category. They could just use Alamo theaters to only show their movies and force others out. There is currently no documented plan for that, and no changes to the Alamo have been announced, but we'll keep our eyes on this story. via No Film School https://ift.tt/w1OCdAaJune 13, 2024 at 05:33AM

Look Out Sora: Luma Lab's Dream Machine AI Model is Here Todayhttps://ift.tt/Qd4xgIWUnlike other hotly talked about AI models out there (looking at you Sora!), Luma Labs has announced that their new AI model is out and available to try today. Available to test on the company’s website, Luma Labs reports that Dream Machine is a new AI model that is designed to make high-quality, realistic videos from text and images.But don’t just take our word for it, you can actually go and check this new AI out yourself and make your own opinions about how it looks and how you might (if at all) potentially use it.Introducing Luma Dream MachineBased in Palo Alto, Luma states that their mission “is to build multimodal AI to expand human imagination and capabilities.” And this new Dream Machine AI does look like it’s here to do just that.Designed to be a highly scalable and efficient transformer model trained directly on videos, this new AI should be capable of generating physically accurate and consistent shots of pretty much whatever your heart desires.Create Action-Packed Shots and Camera Moves — (@)A core selling point of this new Dream Machine AI, at least from these early demos, seems to be that this is a very cinematically-minded model that understands how people, animals, and objects interact with the physical world—which allows for users to create videos with character consistency and accurate physics.At launch here Dream Machine offers the ability to generate 5-second shots with realistic smooth motion, cinematography, and all the drama you can muster out of it. It’s also incredibly fast compared to other models and can generate 120 frames in 120 seconds.It also looks like Dream Machine can help you experiment with what might be an endless array of fluid, cinematic, and naturalistic camera motions matching the “drama” of the scene you give it to create.Try it YourselfOf course, by far the most noteworthy point here is that Dream Work is actually live and available for anyone to test today. Which you can do here. So, if you’re interested, give it a shot. Or don’t—it’s up to you.via No Film School https://ift.tt/w1OCdAaJune 12, 2024 at 01:44PM

Transmit 4K to Four Devices With the Hollyland Pyro Shttps://ift.tt/upDlnaCWhether you're a director, script supe, or pulling focus as an AC, there's on thing we all need above all else—a handy, dandy, reliable monitor. Thankfully Hollyland is around where they've developed the Pyro series lineup, redefining wireless video transmission. With support to HDMI and SDI input and output that can transmit to up to four receivers simultaneously, with a range of up to 1,300 feet and minimal latency of just 50ms.Let's explore their new transmitter below. SDI, 4k, With Four ReceiversHollyland has been on a roll the last few years rolling out affordable, simple to use wireless systems, and have move aggressively into the 4k space. The new Pyro lineup initially launched with the Pyro H a few months ago, built around a primary feature, support for those four receivers.The new Pyro S lineup takes the primary benefit of the H, the four receivers, and adds an SDI port. If you are working on higher end projects, with professional cameras and monitors, SDI will be the tool you want to use, with it's more secure locking barrel. Nicely the system still has an HDMI port as well, so if your camera has HDMI but your monitor SDI, you are set.Four receivers might not seem like a big deal, but it's more important that ever that everyone has access to a strong signal from the monitor. Pair up an M1 monitor and receiver combo for the director, then a receiver for the DP at a big broadcast monitor, and you are only halfway there. Client will likely want their own monitor, then another can go to production design, glam squad, or even boom operator. The more people have an image, the faster and more coherently you can work.The entire Pyro lineup features 4k streaming at up to 30fps. They can be powered over P-tap, or have built in Sony NP style battery mounts so you don't need to purchase an additional plate or accessory. There is a USB port that allows for power supply as well as firmware updates.It's all built in a lightweight alumnium body that won't add tremendous weight to your package. They also offer support for up to 1,300 feet of streaming, though remember that is "line of sight," meaning outdoors or on a large stage. Going through walls is tricky for RF and you can't always depend on it to work, though that is true for any wireless. via No Film School https://ift.tt/w1OCdAaJune 12, 2024 at 11:03AM

Tell Story Through Production Design (Dialogue Free) in 'No One Will Save You'https://ift.tt/VvAznqMProduction design is always important to film and TV. Environments, props, set decoration—it all provides a fuller picture of the story and the characters within it. But if you have a film with a very limited cast—an isolated protagonist—and essentially no dialogue, production design comes even more to the foreground.If a character can't tell you who they are, what they like, or where they're from, audiences are going to start searching for clues around them. In the case of the Hulu sci-fi film No One Will Save You, viewers might spot trails of ribbons, hanging stars, crafting supplies, and family photos—all signs of a happy homeowner named Brynn, which makes the secrets revealed during this alien invasion tale all the more surprising. Ramsey Avery was the production designer tasked with filling in the blanks of this world in collaboration with writer/director Brian Duffield. This wasn't Avery's first foray into sci-fi, with previous credits including 10 Cloverfield Lane, A.I. Artificial Intelligence, and Guardians of the Galaxy Vol. 2. He also designed The Lord of the Rings: The Rings of Power.So it was an honor to hop on Zoom with Avery to discuss No One Will Save You and all the details he used to bolster the story. Beam yourself up! No One Will Save You | Official Trailerwww.youtube.comEditor's note: The following conversation has been edited for length and clarity.No Film School: I would just love to start with your process on this project. Ramsey Avery: Well, it always starts with trying to dig into the basics of the story. Everything that I try to get in front of the camera comes from discussions with the director, oftentimes with the DoP to figure out how it is we're going to create an environment that supports the story. In this particular case, the thing that I found really interesting about this particular story is that we learned throughout the process of the movie that Brynn is exceptionally disliked in her town. And the question for me was, why does she stay? Why doesn't she just pack up and leave? Because she clearly could. There's nothing in the way the world works these days that she couldn't go anywhere because all she's doing is making dresses in her basem*nt. So she could do that anywhere. So the thing that I really wanted to figure out was, why is this particular place so important to Brynn?And so my process almost always starts with asking those types of questions in terms of the environments. How do the environments support the storytelling? What is it that we want the environment to both help the characters in the movie experience, and how do we want the audience to experience that with the characters? So, through a bunch of research and trying to figure out what a young woman who'd had most of her formative years stripped away by being stuck in a jail of some sort, what her experience of the...

Shining a Light on Godox’s Latest LED Lights and Reflectorshttps://ift.tt/XG8EsdeWhile NAB might still be the biggest trade convention for the film and tech world, its dominance isn’t quite what it used to be thanks in part to the growing popularity of other industry trade shows like Cine Gear and IBC these days.With Cine Gear’s LA Expo in particular we were excited to see so many familiar brands and innovations being shared with those who work in the film and entertainment industry. One of the highlights from this year’s expo was Godox and their newest, and brightest, LED lights and reflectors.Let’s take a look at what we saw at the Godox booth this year.The Godox BeamLight Max90The BeamLight Max90 is the brand’s newest reflector which is specifically designed for Godox's high-power LED light MG2400Bi, which achieves an incredibly narrow beam angle of just 5°. This enables it to deliver powerful parallel beams with slow decay and remarkable efficiency, making it perfect for replicating natural sunlight over long distances. Notably, it's so huge that you were able to see it even when you were far away from the booth.Here are specs for the Godox BeamLight Max90:For MG2400Bi & MG1200Bi LED Lights5° Beam AngleIdeal for Long Throw WorkSilver InteriorG-Mount AccessoryWorks with Optional LiteFlow SystemFlexible 180° AdjustabilityIncludes Flight CasePrice: $7,490The Godox MG1200RAlong with the new BeamLight Max90 reflector, we also saw a new MG1200R, which is the colored version of the previous high-power dual-color temperature lamp MG1200Bi. Its dual-color temperature function adds green-magenta adjustment compared with MG1200Bi, which increases the operator's creative space.A Stop at the Godox BoothWhile these new products were cool to check out, Godox was also happy to showcase some live demonstrations hosted by some talented DOPs and directors like Travis Wears and Jameson Brooks. With Wears' presentation in particular he was able to share some practical lighting techniques from his extensive work in the industry, explaining how to achieve different effects for various shooting scenarios.Brooks showcased several commercials he filmed using Godox products, demonstrating their practical application on set. He also discussed how Godox's innovative lighting solutions have enhanced his creative projects, providing examples and live simulations of lighting setups. For more info on Godox’s lighting offerings, you can check out the company’s website here.via No Film School https://ift.tt/w1OCdAaJune 12, 2024 at 09:52AM

This Game Is Perfect For Any Movie Buff or Imaginative Family Memberhttps://ift.tt/vtViUWDIf you’re like us here at No Film School, you spend a lot of your time daydreaming about the kinds of projects you want to write and direct in the future. There’s almost nothing that can directly mimic that rush…until now.Our awesome friends at Filmevent have a brand new game they shared with us – it’s called "Road to Hollywood," and it’s a groundbreaking game that makes filmmaking accessible to everyone in your family or circle of friends.And when you finish a round, you have a movie to watch. Road to Hollywood - The Movie Making Gamewww.youtube.comInspired by a decade of creating engaging film experiences, Filmevent has distilled its expertise into a fun, user-friendly game that requires no prior filmmaking knowledge to play – just an imagination and a desire to have fun. And we found playing it really got our creative juices flowing. The game takes you on a thrilling journey through the movie-making process. Each player takes on a role within the film crew and is also assigned an acting part, ensuring everyone experiences the thrill of a real movie production. They have a specially designed app that allows you to step into the director's role and capture footage directly on your smartphone. Road to HollywoodFilmeventThe system automatically edits the video, adding music, sound effects, and color grading. You simply provide the film title and the end credits, and you'll have a polished film to be proud of, making the process easy and enjoyable for all.Those films can be stored as a family or friend memory, posted online, or even entered into a contest. The sky is the limit. And there is no cap on your imagination. Road to Hollywood FilmeventWhat we love about this is that you can practice your filmmaking skills, get the support you need to make things look good, and you don;t have to go anywhere outside your home. Although, if you step outside, you can open whole new facets of your creativity, so go where the game takes you. "With 'Road to Hollywood,' we're aiming to share the fun of filmmaking with everyone. It's about bringing that magic into every home, making each player a director or actor," says Thom Seewer, founder and the creative initiator of the project. "We're bringing the excitement of movie-making to your living room and allowing you to explore your creativity in a fun, engaging, and meaningful way."Road to HollywoodFilmeventThe Kickstarter for this game launches TODAY, and we’re getting involved because we think this has the ability to help the next generation of storytellers hone their craft at home. And we think this is just a fun idea for the whole family. "To support the campaign and join in on this filmmaking adventure, visit our Kickstarter page, follow us on social media, and watch our promotional video to see 'Road to Hollywood' in action," encourages Lucca Jäger, the creative mind behind th...

Has AI in Film Restorations Gone Too Far?https://ift.tt/GBQLn6hNothing makes me happier than seeing old movies get the care and attention they need to restore them to their glory and make them accessible to new audiences. I'm pleasantly surprised with restorations and tech lately and found many new titles thanks to their restoration releases. Resolutions are cool, but now that AI is brought into the mix, some of the older titles are getting little things tweaked that are taking away from the original intent of the story, and, honestly, making things look worse. Let's go over the negative impact of using AI to upscale older films to 4K resolution.AI Can Ruin Movies Now, Too—Aliens and True Lies on 4kThis video really opened my eyes when it came to how AI was seriously overstepping when it came to digitally upgrading older movies. In the clips in this video from Aliens and True Lies, it was really distracting to see the lines on the faces in closeups and the weird veins inserted into some shots. The AI struggles to accurately reconstruct details, resulting in distorted faces, unnatural hair, and inconsistent focus. These issues are especially noticeable in scenes with fast motion, unusual lighting, or obstructions. I'm not totally sure how they got past James Cameron and the team working on the restorations, or if he was so taken with the tech that he didn't mind it, but it does seem glaring. The video argues that these AI-induced artifacts detract from the viewing experience and could negatively influence how we consume and preserve films in the future. I think if I came to the movies for the first time, I'm not sure I would totally notice, but there is a bit of an uncanny valley effect, where you know things aren't supposed to look that clear or glossy, and that to me is what stuck out the most. The other damning thing here is that these movies are wonderful, and really could have benefitted fro ma human touch on them, cleaning them up and restoring with manpower that would have respected the craft. It may have been more expensive, but it absolutely would have looked better. The tech is just not there yet to do this stuff. Maybe it will be in the future, but it's note even remotely ready now. Let me know what you all think in the comments. via No Film School https://ift.tt/4Umy9tWJune 12, 2024 at 07:03AM

Motivate Your Camera Moves With the Emmy-Winning DP of 'The Crown'https://ift.tt/e7nMIAkCinematographer Adriano Goldman shot almost half of all the episodes of Netflix's royal hit, The Crown. He's won Emmys, ASC Awards, and BAFTA TV Craft awards, and his other credits include Andor and Sin Nombre.Goldman crafted a grounded visual style for The Crown that was carried throughout its six seasons but also grew with its changing timelines, casts, and storylines. He resisted flashiness and relied, as we'll see, on the show's considerable talent to help build the series' tone. In The Crown's final season, Goldman brought some incredibly famous moments to the screen—including paparazzi shots of Diana with her new beau and the car crash that took her life—but he did so while also focusing on the royals as people and telling their stories sensitively. He also shot the series finale, which featured all three iterations of the show's Queen Elizabeth in a poignant last sequence. Goldman told us how he came up as a DP, what it was like working on the series, and what his most important advice to beginning DPs is. Enjoy.The Crown: Season 6 | Part 2 Trailer | Netflixwww.youtube.comEditor's note: The following conversation has been edited for length and clarity.NFS: I would love to hear you talk about how you got into cinematography and what your path has been.Goldman: It's been a long journey. My father was an architect, so I think initially I thought maybe architecture would be the path to follow. But I always loved cinema in general. I was a film buff from the age of 12 onwards. I used to watch, there's this French documentarian, Jacques Cousteau, and I used to watch his documentaries on Brazilian television.It was, of course, very much about the wildlife and the sea life, et cetera. He used to design the diving equipment. As part of the documentary, there was always a little bit of a clip of the behind the scenes, basically the divers getting ready to dive, because it was very much about the cylinders that he designed.And then of course I saw the divers grabbing a camera and jumping in the water, and I remember thinking, "Oh yeah, of course there's someone behind the camera doing all that stuff." So I remember vividly that's when I thought that's more interesting than photography, for me, because it's motion images. Not because I was specifically interested in documentaries, but it was a kind of realization. Of course there's camera operators, there's people that actually are behind the camera framing the wildlife. ... I started seeing movies in a different way. I mean, trying to break down lighting and composition and lenses and why lenses would be so different from movie to movie, and who was the cinematographer doing this?Aside from watching movies, I started researching. Who are the artists involved? I think that's when I realized that that was something I really wanted to do.The Brazilian film industry, when I was growi...