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نوع مطلب :Cinema And Television Hardware And Software Equipments، Digital Video Camera's Information and news، 
برچسب ها :127 Hours: Big Pictures in Small Spaces|How HD Camera Rentals Outfitted Danny Boyle،
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پنجشنبه 6 آبان 1389
کمال پورحنیفه Kamal Poorhanifeh

Disney Cuts Keith Richards From Pirates of the Caribbean 4 After Shocking Admission That He’s Done Drugs

 

Following some heartwarming publicity courtesy of Johnny Depp, Disney proved today that they are taking extra care to keep the fourth, probably unnecessary, sequel to Pirates of the Caribbean warm, fuzzy, and family friendly. The company is now considering cutting Keith “I-can’t-believe-he’s-still-alive” Richards from the film because his new memoir Life advocates drug use. Wait a second here, back up…Keith Richards did drugs?

Disney, we are talking about the same Keith Richards right? The one who joked about snorting his dad’s ashes in an interview? The one who was a subject in that documentary C*cksucker Blues? The guy who wrote the song “Little T&A”? That guy isn’t emblematic of Disney’s values? Because I’m pretty sure all of America thought he was when you already allowed him to be cast in Pirates of the Caribbean: At World’s End.

Bombshell time. Not only does Keith Richards admit to doing drugs in his new memoir, but he actually advocates doing them in moderation. According to the offending passage:

“It’s not only the high quality of drugs I had that I attribute my survival to. I was very meticulous about how much I took.”

“I’d never put more in to get a little higher. That’s where most people f*ck up on drugs.”

Wow. I would have never guessed. Well, unless I listened to a Rolling Stones record, or read this 2007 interview:

The best time I’ve ever had on drugs was…”I can’t remember. It’s those nights you forget, but you know what happened because there are 15 other people telling you that you were hanging naked upside down from the chandelier. The other best bit is the morning after, when you wake up and realise you’ve had a great time. I mean drugs have got really nothing to do with life. Drugs are there if you want them, and it’s not a big fucking deal.”

Anyway, we’ll see if this actually pans out - it seems pretty embarrassing for Disney to act surprised that Richards did drugs. Maybe to compensate, they will make good on the rumor of casting Mick Jagger. That guy’s still squeaky clean, as far as I know.





نوع مطلب : اخبار سینمای جهان، 
برچسب ها : Disney Cuts Keith Richards From Pirates of the Caribbean 4 After Shocking Admission That He’s Done Drugs،
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چهارشنبه 5 آبان 1389
کمال پورحنیفه Kamal Poorhanifeh

ادامه حضور بین المللی سینماگران جامعه اصناف سینمایی




روابط عمومی خانه سینما اعلام کرد، دوازده نفر از مدیران فیلمبرداری جامعه اصناف سینمایی برای توسعه دانش و کسب مهارت به فرانسه سفر خواهندکرد.

 در اجرای ماموریت مندرج در اساسنامه خانه سینما مبنی بر توسعه دانش و افزایش مهارت اعضا و تداوم حضور بین المللی خانه سینما دوازده نفر از مدیران فیلمبرداری از چهارشنبه 31 شهریور ماه طی 7 روز در یک کارگاه فشرده دیجیتال و پرده آبی که با همکاری سازمان ملی سینما فرانسه در موسسه لومیر پاریس برگزار می شود، شرکت می کنند.

این برنامه در پی حضور یازده نفر ازسینماگران در آبان ماه سال گذشته در پاریس و بمنظور بازدید از کمپانی و نهادهای فیلمسازی فرانسه تنظیم شده بود، ترتیب داده شده است.
در این کارگاه فیلمبردارانی چون همایون پایور، علیرضا پور امین، ساعد نیک زاد، حمید خضوعی ابیانه ، بایرام فضلی، حسن پورقلی زاده، محمدرضا سکوت، محمد آلادپوش، بشیرزاده، سعید پور اسماعیلی، عزیزالله ساعتی، فرشاد محمدی حضور دارند و پ.بووار، د.ژانتیی، سباستین نائار، ریشار . بی پو اداره کارگاه را به عهده دارند.
در این مجموعه برنامه دیداری نیز با انجمن فیلمبرداری حرفه ای فرانسه برای بررسی مسائل مورد علاقه مشترک ترتیب داده شده است.



نوع مطلب : اخبار سینمایی ایران، 
برچسب ها : ادامه حضور بین المللی سینماگران جامعه اصناف سینمایی،
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سه شنبه 6 مهر 1389
کمال پورحنیفه Kamal Poorhanifeh


( کل صفحات : 192 )    ...   5   6   7   8   9   10   11   ...   
 
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پنجشنبه 29 تیر 1391
کمال پورحنیفه Kamal Poorhanifeh
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جمعه 7 آبان 1389
کمال پورحنیفه Kamal Poorhanifeh

Automatic White Balance

It's very tempting to set the white balance control on your DSLR or prosumer video camera to automatic. And there are some excellent excuses for doing so; you keep shooting when the lighting changes, aren’t likely to mistakenly balance on a white card aimed at a secondary light source, and forgetting to balance won't leave you stuck with blue faces or orange-tinted indoor scenes.

Our previous discussions of white balance have all been centered on a simple concept; video cameras need to be told what color light they’re working with. Sunlight has more blue than tungsten. A cloudy day has more blue than sunlight. Shooting in the shade often introduces a greenish component to the light, and so on.

The human brain contains its own white-balancing circuit, automatically giving a consistent “look” to whatever the eye sees. The camera doesn’t. This shortcoming is overcome by pointing the camera at a white wall, car, or piece of paper and pressing a button which tells the camera “Memorize this. This is white.” And everything is fine until the light changes and you have to do the white balance drill again or risk shooting an off-color scene.




Activating an automatic white circuit is somewhat akin to walking around with your finger constantly on the white balance button. The only difference is that when you're shooting a scene you're filling the frame with action, not a white card. And here’s the rub; the auto-white circuit is continuously making the assumption that the brightest portion of the scene is white.

And while that’s often the case, sometimes it's not. So the camera makes a pink shirt white and everything else in the scene shifts blue. Or maybe it's a yellow car passing in and out of frame that causes a transitory color shift. Or a backlit beige window shade that’s far and away the brightest part of the frame. Get the picture?

When it comes to color accuracy, it all boils down to a few simple questions. Do you care that different shots in a sequence might have slightly different color casts, or that the principal subject’s skin tone might shift when a light-colored car drives through the shot? Does the uncontrolled action you are capturing move from indoors to sunlight in the same shot? Will you have time to “fix it in post”? In other words; Is close enough good enough?

 

 

 





نوع مطلب : Digital Video Camera's Information and news، Cinema And Television Hardware And Software Equipments، 
برچسب ها : Automatic White Balance،
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جمعه 7 آبان 1389
کمال پورحنیفه Kamal Poorhanifeh

دوره تخصصی تدوین ویدئویی و جلوه های ویژه

مباحث ارائه شده در این دوره کاملا کاربردی بوده و دانشجویان در پایان این دوره قادر خواهند بود بصورت حرفه ای در زمینه تدوین فیلم های دیجیتال / تلویزیونی و ایجاد برخی جلوه های ویژه تصویری برروی فیلم فعالیت نمایند.

در این دوره :

فتوشاپ             کاربرد در تدوین و جلوه های ویژه

افترافکت           ساخت جلوه های ویژه دیجیتال   

ادیوس               تدوین دیجیتال و تلویزیونی           

 

ارائه میگردد این سه نرم افزار بصورت همزمان و کاربردی به موازات یکدیگر آموزش داده میشود تا دانشجویان و علاقمندان با ارتباط بین این نرم افزار ها آشنا شوند .

ثبت نام و حضور علاقمندان غیر دانشجو با رعایت ضوابط دانشکده بلامانع میباشد .

جهت کسب اطلاعات بیشتر با شماره تماس :

  02188941227   واحد امور فرهنگی دانشگاه علمی کاربردی واحد 4 فرهنگ و هنر تهران  تماس حاصل فرمائید.    

 

 





نوع مطلب : اخبار، 
برچسب ها : برگزاری دوره های تخصصی تدوین و جلوه های ویژه برای علاقمندان این رشته در دانشکده فرهنگ و هنر علمی و کاربردی واحد 4 تهران،
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پنجشنبه 6 آبان 1389
کمال پورحنیفه Kamal Poorhanifeh
 
plug-in q&a

Ghost Town Media Spins Multi-Layered Particles for Linkin Park

Since October 8, more than 3 million YouTube viewers have watched the surreal and stunning particle-based effects in Linkin Park’s latest music video, “Waiting for the End." Directed by Joe Hahn and featuring visual effects by Ghost Town Media, the video features band members morphing through skeletal transformations that end in gauzy, three-dimensional X-rays as if rendered by a million points of celestial light.
According to Torno, GTM achieved this effect by passing the source footage through Trapcode Form and Particular multiple times to create a layered comp, where brighter accent particles float around the lead singers yet appear to be part of each primary form and its particle cloud...

 

 



ادامه مطلب


نوع مطلب : مطالب تخصصی جلوه های ویژه در فیلم، 
برچسب ها : Ghost Town Media Spins Multi-Layered Particles for Linkin Park،
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پنجشنبه 6 آبان 1389
کمال پورحنیفه Kamal Poorhanifeh

Sharpen Depth of Field in After Effects with One Click



In this video tutorial, Dustin Klein shows you how to create a depth map with one click while working in After Effects. Using the recent Digieffects plug-in, Depth, he shows you how to add more accurate and photoreal results than you can create with the default tools inside AE. The Depth plug-in can turn an entire AE comp into a depth map based on the relative positions of layers in z-space.

 

 

pluginsider

Though aspects of many notable plug-ins were rolled into After Effects CS5, this version of the compositing software still isn't all things to all people. Newer plug-ins have emerged to fill in the remaining gaps identified by power users, for example, Scopo Gigio, as pointed out by Scott Simmons in a recent blog post. We've got more video tutorials featuring plug-ins that shorten or improve your AE workflow, including one on how to use Digieffects' Depth, above, and a tutorial on stabilizing footage with Boris Continuum Complete.

If you haven't seen Ghost Town Media's spectacular use of Trapcode Form and Particular in the most recent Linkin Park video (see below), spend some time studying the effects. GTM does things with particles that seem utterly fresh and new. 





نوع مطلب : مطالب تخصصی جلوه های ویژه در فیلم، 
برچسب ها : Sharpen Depth of Field in After Effects with One Click،
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پنجشنبه 6 آبان 1389
کمال پورحنیفه Kamal Poorhanifeh

127Hours: Big Pictures in Small Spaces|How HD Camera Rentals Outfitted Danny Boyle By Bryant Frazer October 19, 2010: Film &Video The team behind 127 Hours contacted HD Camera Rentals in Los Angeles not long after the company figured out how to strap a Silicon Imaging SI-2K POV camera — and a CineDeck recorder — onto an Olympic skier performing a 120-meter jump in an AT&T Winter Olympics 2010 spot. HD Camera Rentals kept aerodynamics and weight in mind as it selected gear for that shoot, which was executed by production company Smuggler. “Our company is called for those impossible shots you can’t pull off,” explains Michael Mansouri, a cinematographer and DIT who founded the company in 2005. “We’ve figured out the best ways to integrate this system into digital cinema without losing its true spirit. It does things film can’t. It’s small, it’s fast, and it’s for immediate gratification. We don’t try to turn our cameras into Panavisions.”