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Scorsese’s New Mob Epic, ‘The Irishman,’ Has Netflix and Theaters Distributors at Odds – The online feature streaming battle
www.nytimes.com/2019/08/21/business/media/netflix-scorsese-the-irishman.html
When Martin Scorsese signed with Netflix to make “The Irishman,” the star-studded epic scheduled to have its premiere on the opening night of the New York Film Festival next month, he put himself in the crossfire of the so-called streaming wars.
A crucial sticking point has been the major chains’ insistence that the films they book must play in their theaters for close to three months while not being made available for streaming at the same time, which does not sit well with Netflix.
More than 95 percent of movies stop earning their keep in theaters at the 42-day mark, well short of the three-month window demanded by major chains, according to Mr. Aronson. That suggests the need for change, he said.
Having built itself into an entertainment powerhouse by keeping its subscribers interested and coming back for more, Netflix does not want to be distracted by the demands of the old-style movie business, even as it makes deals with legendary filmmakers like Mr. Scorsese.
Oscar eligibility is not much of a factor in how Netflix handles the rollout. To qualify for the Academy Awards, a film must have a seven-day run in a commercial theater in Los Angeles County, according to rules recently confirmed by the Academy of Motion Picture Arts and Sciences’ board of governors; it can even be shown on another platform at the same time. Still, there is an Academy contingent that may look askance at Netflix if it does not play by the old rules for a cinematic feature like “The Irishman.”
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7 Commandments of Film Editing and composition
1. Watch every frame of raw footage twice. On the second time, take notes. If you don’t do this and try to start developing a scene premature, then it’s a big disservice to yourself and to the director, actors and production crew.
2. Nurture the relationships with the director. You are the secondary person in the relationship. Be calm and continually offer solutions. Get the main intention of the film as soon as possible from the director.
3. Organize your media so that you can find any shot instantly.
4. Factor in extra time for renders, exports, errors and crashes.
5. Attempt edits and ideas that shouldn’t work. It just might work. Until you do it and watch it, you won’t know. Don’t rule out ideas just because they don’t make sense in your mind.
6. Spend more time on your audio. It’s the glue of your edit. AUDIO SAVES EVERYTHING. Create fluid and seamless audio under your video.
7. Make cuts for the scene, but always in context for the whole film. Have a macro and a micro view at all times.
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Impostor Syndrome – the barrier between artists and success
Do any of these apply to you:
- I find it hard to accept praise.
- I tend to focus on the things I am not good at, rather than my strenghts.
- I think that people over rate me and worry one day they will find out that I am not as good as they think I am.
- I often succeed despite being convinced I will fail before I begin.
- I often think that those around me are better.
- I hate asking for feedback on my performance.
www.jessstuart.co.nz/imposter-syndrome
Impostor syndrome is a psychological pattern in which an individual doubts their accomplishments and has a persistent internalized fear of being exposed as a “fraud”, against all evidence.
70% of people suffer from some level of imposter syndrome.
Those experiencing this phenomenon remain convinced that they are frauds, and do not deserve all they have achieved.
Individuals with impostorism incorrectly attribute their success to luck, or as a result of deceiving others into thinking they are more intelligent than they perceive themselves to be.
What can you do about it:
www.jessstuart.co.nz/blog/2018/05/6-hacks-handle-imposter-syndrome- Don’t over complicate things.
- Own your successes.
- Give it your all and know it’s enough.
- Don’t let your doubt and fear stop you.
- Remember: your thoughts are not common knowledge.
- Acknowledge it and know it’s not just you.
- Stop comparing yourself to others.
en.wikipedia.org/wiki/Impostor_syndrome
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No one could see the colour blue until modern times
https://www.businessinsider.com/what-is-blue-and-how-do-we-see-color-2015-2
The way humans see the world… until we have a way to describe something, even something so fundamental as a colour, we may not even notice that something it’s there.
Ancient languages didn’t have a word for blue — not Greek, not Chinese, not Japanese, not Hebrew, not Icelandic cultures. And without a word for the colour, there’s evidence that they may not have seen it at all.
https://www.wnycstudios.org/story/211119-colorsEvery language first had a word for black and for white, or dark and light. The next word for a colour to come into existence — in every language studied around the world — was red, the colour of blood and wine.
After red, historically, yellow appears, and later, green (though in a couple of languages, yellow and green switch places). The last of these colours to appear in every language is blue.The only ancient culture to develop a word for blue was the Egyptians — and as it happens, they were also the only culture that had a way to produce a blue dye.
https://mymodernmet.com/shades-of-blue-color-history/True blue hues are rare in the natural world because synthesizing pigments that absorb longer-wavelength light (reds and yellows) while reflecting shorter-wavelength blue light requires exceptionally elaborate molecular structures—biochemical feats that most plants and animals simply don’t undertake.
When you gaze at a blueberry’s deep blue surface, you’re actually seeing structural coloration rather than a true blue pigment. A fine, waxy bloom on the berry’s skin contains nanostructures that preferentially scatter blue and violet light, giving the fruit its signature blue sheen even though its inherent pigment is reddish.
Similarly, many of nature’s most striking blues—like those of blue jays and morpho butterflies—arise not from blue pigments but from microscopic architectures in feathers or wing scales. These tiny ridges and air pockets manipulate incoming light so that blue wavelengths emerge most prominently, creating vivid, angle-dependent colors through scattering rather than pigment alone.
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![[gamma correction test]](http://www.madore.org/~david/misc/color/gammatest.png "sRGB gamma correction test")
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Mariko Mori – Kamitate Stone at Sean Kelly Gallery
Mariko Mori, the internationally celebrated artist who blends technology, spirituality, and nature, debuts Kamitate Stone I this October at Sean Kelly Gallery in New York. The work continues her exploration of luminous form, energy, and transcendence.
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Composition – These are the basic lighting techniques you need to know for photography and film
http://www.diyphotography.net/basic-lighting-techniques-need-know-photography-film/
Amongst the basic techniques, there’s…
1- Side lighting – Literally how it sounds, lighting a subject from the side when they’re faced toward you
2- Rembrandt lighting – Here the light is at around 45 degrees over from the front of the subject, raised and pointing down at 45 degrees
3- Back lighting – Again, how it sounds, lighting a subject from behind. This can help to add drama with silouettes
4- Rim lighting – This produces a light glowing outline around your subject
5- Key light – The main light source, and it’s not necessarily always the brightest light source
6- Fill light – This is used to fill in the shadows and provide detail that would otherwise be blackness
7- Cross lighting – Using two lights placed opposite from each other to light two subjects