Jump to content

Phil Jackson

Basic Member
  • Content Count

    49
  • Joined

  • Last visited

About Phil Jackson

  • Rank

Profile Information

  • Occupation
    Director
  • Location
    Los Angeles

Recent Profile Visitors

1241 profile views
  1. That was my understanding as well. Time itself isn't moving backwards but rather objects and people are. What Nolan (erroneously) describes as reverse entropy. (Erroneous because time and entropy aren't actually connected. If you put food in a freezer you can dramatically slow down or functionally stop entropy, but time still marches on). But how this is done is basically a giant MacGuffin. Similar to "the formula" in Interstellar. A story like this is where you miss a great techno-thriller writer like Michael Crichton, who, I think, did a better job of setting up the story world for his stor
  2. I don't know if there's a lot of programs that do both well. I like Sketchup quite a bit. It's fast and easy and the Sketchup library allows you to create scenes very quickly to a high level of detail. Vectorworks is really good too and allows for pretty quick modelling of walls and sets and also has a lot of built in functionality for rigging, truss, lighting, etc. but its a bit of a learning curve and more of a serious tool for actual construction documentation. I've personally used ToonBoom and liked it for shot composition. Foundry, the company that makes Modo and Nuke, app
  3. There were some production stills made available several months ago, that show it looking very Kaminski-ish (which isn't a bad thing necessarily). First Look at Spielberg's West Side Story Wet pavement and hot backlight
  4. Saw it here in Southern California. Finally a theater open (with only three people in the theater) in Orange County. Movie is definitely overwhelming. My brain was scrambled eggs when I left the theater, I had to go on YouTube and watch one of those 'ending explained' videos (and I still had a hard time following that). I was following along until the third act then I just got lost...and even a little bored. That last act reminded me of the third act of Rogue One where there was just so much going on for so long that it just became a bit much, especially when the movie has already told y
  5. It's definitely an interesting discussion. I was always partial to Dynamic Symmetry and the teachings of people like Myron Barnstone, but the guy has a point that they tend to a bit on the dogmatic side and a bit reductionist in approach. Also Stan Prokopenko is a very good teacher and I really enjoy his YouTube series on drawing.
  6. You know looking closer at that NBC image it looks like there's four or five lekos firing at that talent position. One or two on the far wall maybe at 11:00 to the talent, and probably the same around 2:00 on the right. I would think this would create a light that didn't have directional shadows or would eliminate them altogether, which basically is what you'd get with soft lighting (the quality of light isn't quite the same as using diffused light because of the difference in specularity a hard light source produces, but for all intents and purposes it works well especially on someone with fa
  7. Those studio lighting setups often have lighting that is directional but not necessarily always super hard. These days there's a lot of LEDs involved too. Traditionally you might have two or three diffused lekos cross shooting each talent position with one as a backlight/hairlight. Subject to background ratio is almost always 2:1. In this photo of the NBC Nightly News set you can clearly see the talent has two lekos focused on him and a panoply of open and fresnels and everything else. Awards shows sort of have the same look, especially those lit by Bob Dickinson. In awards shows the tal
  8. I'd be curious to see something rendered on a serious render engine like Vray RT (even VRAY for Unreal), Arnold or Renderman. Something with some real physically based shaders and raytraced lighting and shadows. I remember Octane, a few years back, had a product they were trying to launch called Brigade, which they seem to have pulled the plug on, but it looked very promising. UE5 seems to have taken huge strides and could be a real viable option down the road especially if people like Lucasfilm are helping with the R&D. Even in UE4, they showed the ability for a paradigm shift in fil
  9. Here's the actual quote from the video: It sounds to me like they're cooking up something other than their current ALEV III sensor.
  10. Anyone catch Arri's (sort of) announcement about the Alexa S35 coming out next year sometime? Supposedly a new true 4K Super 35 sensor in a Mini LF body. They seem to think (and they're right) that there's still a huge market for Super 35 for TV and movies that's not really being served in all the resolution and large format posturing. It's buried at the 34:40 mark of this Arri Tech Talk from last week. The entire talk is actually quite good.
  11. I think they need more market saturation (and someone besides Philip Bloom to do something serious with their products) before they become viable. It's frustrating because I think their product is superior to just about anything out there in its class, and can easily compete with Red, Arri and the Venice no problem. I would argue it looks better than most of its competitors too and for a fraction of the costs. But their marketing effort is very weak and disorganized. They have little trade show presence and only recently have rental houses picked up the Mavo LF, which is a fantastic camera and
  12. And this is highly contingent upon it being a union job to begin with. A large chunk of work out here isn't. I know editors working on high end projects for as little as $300 a day. I think the NABET rate for broadcast editors is something like $40/hour. Non-union editorial is probably in the $500-$1000 a day rate if you're good and a known entity. I can't imagine too many production companies would pay much more than that for non-union editorial. The guys that make the money are Flame Artists (but this is a highly specialized trade), and some colorists depending on the house. The
  13. I would think a Drive In with today's digital projectors and HD radio should be pretty good. Drive ins don't necessarily reproduce a theater experience though. Depending on where you park the field of view of the screen is more like watching on television -- so you might as well watch on a television. But hey, maybe those big 70s conversion vans might make a comeback -- kids gotta have something to do! Drive in and chill.
  14. It's an interesting question. I wonder if theaters go back to more of the movie palace format where only the biggest movies are released theatrically in one or two locations in a city. I mean I guess this is the way movies worked before the era of the multiplex. While it might be a death knell for the theater business as it currently sits, it could result in an elevated movie going experience and make going to the movies an event again. Maybe the films get released in the big theaters a few weeks before streaming. It could definitely help quality control or directors like Tarantino who want to
  15. It was interesting because it covers the new Bond movie, which of course got pushed back to November so there's some mild spoilers. Still good stuff in there. I actually watched a little bit of Tales From The Loop simply because I wanted to see what Mark Romanek and Jeff Cronenweth did on the Panavision DXL2. The article on that show was interesting.
×
×
  • Create New...