Hacking Photography - one Picture at a time
A well-known Taiwanese actor was disfigured recently when a camera drone crashed into his face. The incident happened on set for a Netflix film shoot. The actor suffered a serious injury to his face and, according to his manager, needed around 30 stitches.
Actor Kai Ko was filming a Mandarin-language fantasy series for Netflix called Agent From Above when the accident happened. It occurred on December 27th, however, Ko has still not yet returned to the set.
For movie watchers, there’s nothing more upsetting than settling in to watch the latest overhyped movie only to turn on your fancy, way-too-big, expensive TV to discover you’ve got dead pixels on your screen. They just sit there, taunting you, spoiling your viewing experience.
That’s the experience felt by quite a few people who sat down to watch the new Zack Snyder Netflix movie Army of the Dead. At least, it was until they realised that those dead pixels weren’t on their TV, but in-camera, recorded for all time in the movie itself, turning their dispair into “rage”.
We may argue whether or not we should work for free, or when we should do it. But if a company worth billions wants to hire us, I guess we can expect to be paid. Or not?
The producers of Netflix’s show Love is Blind reached out to photographer Megan Saul to offer her a gig. It would be an opportunity of a lifetime… if only it weren’t paid in exposure instead of real money.
In 2017, Netflix launched Abstract: The Art of Design, an inspiring documentary TV series. It features different kinds of creatives (including photographers), showing us how design affects all aspects of our lives. If you haven’t seen it so far, here’s a good news – the series is now available for free on Netflix.
People will do some crazy things in order to get the shot, especially automotive photographers and filmmakers. But this one really takes the prize. For a chase scene of Chris Hemsworth’s new movie, Extraction, director Sam Hargrave actually strapped himself to the hood of a car to hold the camera and film the chase scene.
And that’s not the only crazy filming technique used to create this scene, either. Netflix posted a behind the scenes look to Facebook of how the chase scene was filmed, along with the final edited result of what the camera saw, and boy does it look good!
The Panasonic S1H is a full-frame mirrorless camera aimed primarily at movie shooters. Thanks to its stellar video features, it has made it into the “big league.” It’s the first mirrorless camera to be certified by Netflix. In other words, it’s the only mirrorless camera Netflix allows to be used as a primary camera on productions. And since it’s on the same list with high-end movie cameras, it’s also the cheapest among them.
Perhaps you remember the case from earlier this year, when Netflix was accused of using a storm image without permission for its hit show Stranger Things. Photographer Sean R. Heavey took the photo, and he is now filing a lawsuit against Netflix for copyright infringement.
While watching popular Netflix show Stranger Things, photographer Sean R. Heavey had an unpleasant surprise. He thought that a giant storm cloud in one of the scenes looked familiar, and then he realized – it was one of his photos. Apparently, the creators of the show used his photo to create the scene, and the photographer says they didn’t ask him for the permission.
Last year, Netflix announced that it had acquired the rights to the Ed Harris flick, Kodachrome. It details the journey of a man and his son racing to develop several rediscovered rolls of Kodachrome film before the last lab capable of doing it shuts down. Looking at the trailer, Ed Harris’ character is his usual cantankerous old self. A bit like the one he plays in Westworld, with a little Grumpy Old Men thrown in for good pleasure.
Netflix has acquired the photography themed drama, Kodachrome in a deal worth $4 million. Starring Ed Harris, Jason Sudeikis and Elizabeth Olsen, it’s set during the final days of Kodachrome’s processing availability.
The film premiered at the Toronto International Film Festival on Friday at the Princess of Wales Theatre. It follows a father-son road trip to reach a Kansas photo lab before its doors close for good. If they don’t get there in time, then it’s never going to happen (in theory).
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