Famous Hollywood photographer Douglas Kirkland passed away on 2 October. The official announcement of the sad news says that he was at his home in Hollywood Hills, LA, surrounded by his wife, two friends, and their dog.
They say that video job interviews are becoming harder and harder to nail these days, but when you have to resort to faking your own death to secure a job perhaps things are going a bit far. But that’s exactly what the directors of the latest instalment of the Final Destination movie franchise ended up doing in order to convince producers they were the people for the job.
Zach Lipovsky and Adam B. Stein, are probably best known for their 2018 sci-fi thriller Freaks. It’s been revealed that they have been chosen to direct Final Destination 6, the long-time-coming relaunch of the New Line’s horror franchise. But they certainly went to great lengths to prove their worth in the video pitch.
This is probably the most practical and one of the least creepy ways I’ve seen deepfake technology being used since it was initially created. While it’s had some very impressive showcases, particularly as an alternative to badly CGI’d versions of actors looking years younger than they are or even bringing them back from the dead, this application is a little less drastic and a little more seamless.
In what is being termed “vubbing”, deepfake technology is being used to generate new frames when lines are changed in post or certain things (like profanity) are cut out completely in order to appease the censors (the MPAA, in this case). With deepfake technology falling far below the budget of reshoots, it makes a lot of sense, but that the technology has come this far so quickly is also very impressive.
Filmotechnic has renamed their car-mounted crane “U-CRANE”. Formerly called the “Russian Arm”, the cranes are actually produced in Kyiv, Ukraine and the company decided it was time to honour their country of origin and show support against the ongoing war with Russia.
The cranes are a mainstay of Hollywood action movies. Used in productions with fast-moving car chases, the cranes have been a pivotal piece of equipment in movies such as the ‘Fast and Furious’ franchise, most of the Mission Impossible films, and of course, James Bond.
A previously unrecognised beautiful young wildlife photographer is contacted out of the blue by a director and has her work incorporated into a Hollywood movie. It sounds like a plot to a movie itself (well, maybe a straight to cable movie!) but that is exactly what happened to Swedish photographer Danni Connor Wild when Oscar-winning sound editor and designer Mark Mangini contacted her and asked to use a recording she’d made of a baby squirrel in the movie Dune.
Chase scenes have been a staple in movies for almost as long as movies have existed. And boy have they changed over the years! Car chase scenes from the 1920s look practically comical now, yet were at the pinnacle of on-screen drama back in their day. With Fast & Furious 9 set to hit our screens this year, Insider decided to take a look at how they’ve evolved over the last 100 years.
From 1924’s Sherlock Junior, through Bullitt, The French Connection, Ronin, Drive and more, through to the latest Fast & Furious movies, it covers a lot of ground in not only how the filming of the scenes has evolved, but how new technological innovation has allowed them to kick things up a notch every so often.
Even though I’m not an Apple fangirl, I have to admit that the iPhone has come a long way when it comes to camera capabilities. It’s the only smartphone that supports Dolby Vision, so Apple wanted to demonstrate what it can do. In this one-minute ad, you can see a preview of all the crazy, creative, and unexpected ways an iPhone 12 Pro can be used in a Hollywood movie.
Other than being fantastic in front of the camera, actor Jeff Bridges is also fantastic behind it. He has been into photography ever since high school, and his work includes lots of BTS photos from film sets. In his latest book Jeff Bridges: Pictures Volume Two, he has once again brought together his photos of Hollywood in-between takes.
Last year, the first commercial-quality footage of the Earth from outer space was shot on a Sony Alpha a7S II. And now, the same camera was used for the first ever Hollywood feature-length movie shot on a full-frame mirrorless. A new horror thriller The Possession of Hannah Grace was not shot on a high-end movie camera but on a $2,200 Sony mirrorless.
If I look back at how I learned to take pictures, the path isn’t straight at all. But this isn’t necessarily just because I took wrong turns (yes including selective colour, and cheap tripod). It’s also down to my goals changing. Constantly. One of the things that has changed significantly over the years are my goals for light.
I remember when I first saw someone take pictures of a model, he was using a big soft-box and was really impressed by the technical quality of the result – pin sharp due to a very small aperture, which in turn was made possible by tonnes of light. The light was also big so the result was perfectly even but directional light with soft shadow transitions.