Momentum

"Sisa: Cocaine of the Poor". A VICE documentary filmed in Athens, Greece.

noreply@blogger.com (Alexandros Maragos) — Mon, 20 May 2013 13:05:55 PDT

Sisa: Cocaine of the Poor
Vice Full Length Documentary
Sisa: Cocaine of the Poor
"Austerity's Drug of Choice".
Sisa is Destroying the lives
of Athens's Homeless People
A new documentary from VICE investigates "Sisa," a cheap synthetic drug that is destroying the lives of Athens' homeless people. Although little is known about the drug, it is rumored to be a cheap derivative of crystal meth cut with anything from shampoo or cooking salt to battery acid and engine oil.

Charalampos Poulopoulos, director of KETHEA, a government-funded anti drug and rehabilitation organization, says Greece's economic crisis has exacerbated general drug use in the country, and led to sisa's emergence on the market. The nation currently has a 27% unemployment rate — 58% for youth under 25. In a "perfect storm," the economic crisis has also led to a collapse of the health care system, leading to a deficit of treatment centers, methadone clinics and healthcare workers. Addicts who’ve been priced out of using heroin, crack, and crystal meth have increasingly turned to sisa, which costs as little as two euros a hit.

The epidemic is only the latest example in a global trend toward synthetic street drugs, from the skin-eating krokodil in Siberia, to souped-up anti-AIDS meds in South Africa, and to the synthetic craze in North America and the UK. As with most drugs available to the poor, sisa comes with some nasty side effects, including “insomnia, delusions, heart attacks and aggressiveness,” says Poulopoulos. In the video, sisa users describe the drug's damaging effects. "I think it's the worst drug ever" says a man in the video, "You can kill someone and not even realize."

Director/Camera: Nick Ahlmark
Host: Alex Miller
Producer: Elektra Kotsoni
Camera: Henry Langston
Editor: Evelyn Franks
Assistant Editor: Rhiannon Mayor
Exec Producers: Eddy Moretti, Shane Smith, Suroosh Alvi
Exec Producer (UK): Vida Toombs
Head of Content: Alex Miller
Supervising Producer: Al Brown
Production Manager: Bree Horn
Production Coordinator: Becky Joseph
Content Coordinator: Elektra Kotsoni
Post Supervisor: Mike Horlock
Post Coordinators: Ellie King, Mimi Flemming
Translator: Yiannis Baboulias
Music Supervisor: Amy Ashworth
Art Direction: Joel Kitzmiller
Motion Graphics: Bex Rumble
Eq. Manager: Grant Armour
Music: Kandodo
KETHEA ADDICTION HELPLINE: 1145

Visit: VICE
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Star Trek Into Darkness: J.J. Abrams Behind The Scenes and Tech Specs

noreply@blogger.com (Alexandros Maragos) — Mon, 20 May 2013 08:36:01 PDT

Star Trek Into Darkness Complete B-Roll
J.J. Abrams Behind The Scenes

Star Trek Into Darkness: Behind The Scenes

Technical Specifications
Camera:
• IMAX MSM 9802, Hasselblad Lenses
• Iwerks MSM 8870, Hasselblad Lenses
• Panavision Panaflex Millennium XL2, Panavision Primo, C-Series, ATZ and AWZ2 Lenses
• Red Epic (some shots)

DI Laboratory:
• Company 3, Los Angeles (CA), USA (digital intermediate).
• Colored by the Founder & President of Company 3, Stefan Sonnenfeld.

Film Length: 3,622 m (8 reels)

Negative Format:
• 35 mm (Kodak Vision3 200T 5213, Vision3 500T 5219)
• 65 mm (horizontal) (Kodak Vision3 200T 5213, Vision3 500T 5219)

Cinematographic Process:
• Digital Intermediate (2K) (master format)
• IMAX (source format) (some scenes)
• Iwerks 8/70 (source format) (some scenes)
• Panavision (anamorphic) (source format)

Printed Film Format:
• 35 mm (Kodak Vision 2383)
• 70 mm (horizontal) (IMAX DMR blow-up) (also dual-strip 3-D) (Kodak Vision 2383)
• D-Cinema (also 3-D version)

About J.J. Abrams (Director/Producer)
J.J. Abrams is the founder and President of Bad Robot Productions, which he runs with his producing partner Bryan Burk. Formed in 2001, Bad Robot is partnered with Paramount Pictures and Warner Bros. Studios and has produced films and television series such as "Cloverfield," "Star Trek," "Morning Glory," "Super 8," "Mission Impossible: Ghost Protocol," ABC's "Alias" and "Lost," Fox's "Fringe," and CBS's "Person of Interest."

Born in New York and raised in Los Angeles, Abrams attended Sarah Lawrence College where he co-wrote a treatment that became the basis for Disney's "Taking Care Of Business." In years following, he wrote or co-wrote such films as "Regarding Henry," "Forever Young," "Armageddon," and "Joy Ride."

In 1998, Abrams co-created his first television series "Felicity" with collaborator and long-time friend Matt Reeves. Abrams served as Executive Producer for the series' four-season run on The WB. Additionally, Abrams created and executive produced "Alias" for ABC, and co-created (with Damon Lindelof) and executive produced ABC's "Lost."

In 2006, Abrams directed his first feature film, "Mission: Impossible 3." His second feature directorial effort "Star Trek" was released in May 2009. "Super 8," written and directed by Abrams and produced by Abrams, Burk and Steven Spielberg, was released in June 2011. His most recent feature, the upcoming "Star Trek" sequel, will be released in 2013.

In 2005, Abrams received Emmy Awards for Outstanding Directing in a Drama Series for the "Lost" pilot as well as Outstanding Drama Series for "Lost." He also received Emmy nominations for his "Alias" and "Lost" pilot scripts. In addition, Abrams composed the theme music for "Alias," "Fringe," "Lost," "Person of Interest," and "Revolution," and he co-wrote the theme song for "Felicity." Abrams presently serves as Executive Producer of CBS's "Person of Interest," Fox's "Fringe," and NBC's "Revolution."

About Dan Mindel, ASC, BSC (Cinematographer)
Dan Mindel, ASC, BSC previously worked with J.J. Abrams as director of photography for “Star Trek” and “Mission: Impossible III.” He was born in South Africa and educated in Australia and Britain. He began his career as a cinematographer shooting commercials and working with successful directors, including Ridley Scott, Barry Kinsman, Hugh Johnson and Mike Seresin.

His ads for Tony Scott include memorable commercials for such clients as Coca-Cola, PepsiCo, Miller Coors and Marlboro. Mindel served as director of photography on Tony Scott’s film "Domino," Iain Softley’s "The Skeleton Key," "Tooth Fairy," "Stuck on You" and "Shanghai Noon," among many others. He was responsible for the photography on the West Coast unit of "G.I. Jane" and for the additional photography on "The Bourne Identity" and Tony Scott’s "The Fan."

"Enemy of the State" marked his debut as the sole director of photography on a major motion picture. Mindel also served as director of photography on Kate Hudson’s short film "Cutlass." He most recently shot Oliver Stone’s "Savages" and Andrew Stanton’s "John Carter."

Visit: Star Trek Into Darkness
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Interview: J.J. Abrams On Filmmaking

noreply@blogger.com (Alexandros Maragos) — Mon, 20 May 2013 04:54:24 PDT

J.J. Abrams: On Filmmaking
BAFTA Guru

J.J. Abrams: On Filmmaking
BAFTA Guru sat down for an interview with J.J. Abrams. J.J. Abrams (Star Trek Into Darkness, Super 8, Armageddon, Mission: Impossible III, Lost, Alias, etc) fills us in on balancing intimacy with hyperreality, why TV leaves room for surprises and the best advice he's ever been given.

Visit: BAFTA Guru
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The Music of Star Trek Into Darkness

noreply@blogger.com (Alexandros Maragos) — Mon, 20 May 2013 00:33:59 PDT

The Music of Star Trek Into Darkness
SoundWorks Collection

The Music of Star Trek Into Darkness
Exclusive SoundWorks Collection Profile with the Music Conductor and Orchestrator Tim Simonec on the 20th Century Fox Newman Scoring stage for Director J.J. Abram's new film Star Trek Into Darkness.

For years, Tim Simonec has been one of the busiest orchestrators in Hollywood. He has orchestrated and conducted over 70 feature films and 25 television series. He has also composed the music for the feature film A Rumor of Angels and Anne Frank: The Whole Story, which won an Emmy for best mini-series.

He has worked with Graeme Revell since 1991 as his orchestrator and conductor.Some of their films together are Pineapple Express, Daredevil, The Negotiator, The Hand That Rocks the Cradle. In 1996, he began working with composer Chris Tyng. Their projects together included kazaam, The Associate, and the TV series Futurama. Since 1997, Tim has been working with Michael Giacchino as his conductor and orchestrator/arranger. Over the years their projects have included video games such as Medal of Honor, Call of Duty; TV series, Alias, LOST, Fringe; and films, The Incredibles, Ratatouille, The Family Stone, Mission Impossible 3, Star Trek, UP, and most recently, Super 8, Cars 2, MI4: Ghost Protocol, and John Carter. For his arrangement of the end-titles of UP, Tim was nominated for a Grammy.

Tim was born and raised in Chicago...making him, to this day, a die-hard Cubs, Bears, and Blackhawks fan. He began playing the organ and piano at age 8, and became the church organist at the ripe old age of 12! Despite his teen years at the keyboards, he chose to study theology in college. And while his intent was to become a minister, his love of music was a constant in his life. He arranged music for orchestra during college, and after graduation, Tim was hired to write a theme for a local television program. The moment he heard studio musicians play his composition, he realized his passion and career would be music.

Although Tim decided to pursue a career in film composition, ironically, he did so by writing the scores for 40 religious films. While recording music for a religious documentary in London in 1979, recording engineer Eric Tomlinson (Star Wars, Superman) was impressed with Tim's composition and encouraged him to make the move to Los Angeles. Soon after arriving in LA, Tim was hired to compose music for Happy Days, Laverne & Shirley, and Family Ties.

All was moving along well until March of 1984. After experiencing debilitating numbness in his hands and a painful, stiff neck, Tim was diagnosed with a tumor on his cervical spinal cord. The operation to remove the tumor resulted in Tim becoming a quadriplegic. He was told he would never walk again. After thousands of prayers, the support and love of the woman who became his wife, and great determination, Tim learned to walk again. In medical terms, he is that rare phenomenon, a walking quadriplegic. He also regained partial use of his hands and is able to conduct orchestras.

Tim's days at the keyboard were over but he knew he could compose, hopefully with the newest technology...the Apple computer! In 1986, he returned to pursue his passion and career in film music, which he continues to this day.

Visit: SoundWorks Collection | Star Trek Into Darkness

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Steven Soderbergh: State of Cinema

noreply@blogger.com (Alexandros Maragos) — Thu, 16 May 2013 00:34:24 PDT

Steven Soderbergh: State of Cinema
San Francisco International Film Festival

Steven Soderbergh on the State of Cinema
On April 27, 2013, Steven Soderbergh spoke at the San Francisco International Film Festival on the "State of Cinema". The entire 40min talk is engaging and worth watching. Due to great demand, Steven Soderbergh has given The San Francisco Film Society permission to release the above video that was recorded initially only for archival purposes. The full transcript is also provided on the SF Film Society Blog.

Transcript - Brief Excerpt:
First of all, is there a difference between cinema and movies? Yeah. If I were on Team America, I’d say “Fuck yeah!” [laughter] The simplest way that I can describe it is that a movie is something you see, and cinema is something that’s made. It has nothing to do with the captured medium, it doesn’t have anything to do with the where the screen is, if it’s in your bedroom, your iPad—it doesn’t even really have to be a movie: it could be a commercial, it could be something on YouTube. Cinema is a specificity of vision, it’s an approach in which everything matters. It’s the polar opposite of generic or arbitrary and the result is as unique as a signature or a fingerprint. It isn’t made by a committee, and it isn’t made by a company, and it isn’t made by the audience. It means that if this filmmaker didn’t do it, it either wouldn’t exist at all, or it wouldn’t exist in anything like this form.

So, that means you can take a perfectly solid, successful and acclaimed movie and it may not qualify as cinema. It also means you can take a piece of cinema and it may not qualify as a movie—it may actually be an unwatchable piece of shit. [laughter] But, as long as you have filmmakers out therewho have that specific point of view, then cinema is never going to disappear completely. Because it’s not about money, it’s about good ideas followed up by a well-developed aesthetic. I love all this new technology, it’s great. It’s smaller, lighter, faster, you can make a really good-looking movie for not a lot of money, and when people start to get weepy about celluloid, I think of this quote by Orson Welles when someone was talking to him about new technology, which he tended to embrace, and he said: “I don’t want to wait on the tool, I want the tool to wait for me,” which I thought was a good way to put it. But the problem is that cinema as I define it, and as something that inspired me, is under assault by the studios and, from what I can tell, with the full support of the audience. The reasons for this, in my opinion, are more economic than philosophical, but when you add an ample amount of fear and a lack of vision, and a lack of leadership, you’ve got a trajectory that I think is pretty difficult to reverse.

Now, of course, it’s very subjective—there are going to be exceptions to everything I’m going to say, and I’m just saying that so no one thinks I’m talking about them [laughter]. I want to be clear: the idea of cinema as I’m defining it is not on the radar in the studios. It’s not a conversation anybody’s having; it’s not a word you would ever want to use in a meeting. Speaking of meetings, the meetings have gotten pretty weird. There are fewer and fewer executives who are in the business because they love movies. There are fewer and fewer executives that know movies. So it can become a very strange situation. I meab, I know how to drive a car, but I wouldn’t presume to sit in a meeting with an engineer and tell him how to build one, which is what you feel like when you’re in these meetings. You’ve got people who don’t know movies, don’t watch movies for pleasure, deciding what movie you’re going to be allowed to make. That’s one reason studio movies aren’t better than they are, and that’s one reason that cinema, as I’m defining it, is shrinking.

Well, how does a studio decide what movies get made? One thing they take into consideration is the foreign market, obviously. It’s become very big. So that means, you know, things that travel best are going to be action-adventure, science fiction, fantasy, spectacle, some animation thrown in there. Obviously the bigger the budget, the more people this thing is going to have to appeal to—the more homogenized it’s got to be, the more simplified it’s got to be. So things like cultural specificity and narrative complexity, and, god forbid,ambiguity [laughter], those become real obstacles to the success of the film here and abroad.

Visit: The San Francisco Film Society for the full transcript.
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Technicolor Color Assist Adds Adobe After Effects Support

noreply@blogger.com (Alexandros Maragos) — Tue, 14 May 2013 02:32:21 PDT

Technicolor Color Assist Adds Adobe After Effects Support
Technicolor Color Assist 1.5

Technicolor Adds Adobe After Effects Support to Color Assist. New Version Adds Powerful Tools for Fast, Professional Results, Plus a New Fully Functional Trial Version.

Paris (France) & Hollywood (CA) – May 14, 2013 – Technicolor announced the latest version of Technicolor Color Assist its video color correction and grading software package. Key improvements of version 1.5 include compatibility with Adobe® After Effects® and support for AVCHD video and still images, meeting the needs of an ever-expanding universe of creative artists.

Color Assist 1.5 draws on Technicolor’s deep heritage in color science to bring powerful studio color grading and color correction to users who want professional-quality results. Adobe After Effects is the preeminent visual effects and motion graphics software, and AVCHD is one of the most popular prosumer video formats. Both groups will benefit greatly from the powerful, yet simple-to-use tools in Color Assist.

“The professional post-production tools Adobe offers enables our customers to create high-quality productions. Now Color Assist 1.5 builds on its existing support for Adobe Premiere® Pro by adding compatibility with Adobe After Effects, therefore giving the post-production community more choices in the tools they use in their workflow,” said Simon Williams, Director of Strategic Relations at Adobe. “Creative professionals are always squeezed for time, and Color Assist 1.5 is quick and powerful.”

Version 1.5 also includes important workflow improvements that make it easier than ever to learn and use. ”Color Assist 1.5 is proof of our ongoing commitment to work with our partners, such as Adobe, and to help video creators realize their artistic vision,” said Alejandro Guerrero, Senior Vice President, General Manager of Technicolor CineStyle. “Over the past five months we’ve listened intently to our customers and responded with a plethora of enhancements – like our Pixelmeter, improved bin and browser navigation, and workspace customization – that improve efficiency and expand creative options.”

Color Assist 1.5 is currently available for both Mac and PC users and supports a growing list of video production suites, including Final Cut Pro 7, Final Cut Pro X, Adobe Premiere Pro CS5.5 & higher, and now Adobe After Effects. The company is committed to making Color Assist available to an even broader user base, and is working closely with its partners to ensure that Color Assist will support the most popular video editing platforms as they continue to evolve on the desktop and in the Cloud.

Pricing & Availability

Color Assist is available for purchase this week with support for Adobe Premiere Pro CC, After Effects CS 5.5 & higher, Final Cut Pro 7, and Final Cut Pro X on Mac OS and Windows for $99 USD at technicolorcinestyle.com. Existing users can receive a free update that includes Adobe After Effects support and all the new enhancements of version 1.5, and new users can download a free, fully functional 14-day trial of Color Assist. Additional Color Assist Looks packages can be purchased for $19 USD and include 10 additional custom-created Looks per package.

Thanks: John Snedigar (Technicolor)
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Audi X Factor Shoot by Bill Bennett, ASC

noreply@blogger.com (Alexandros Maragos) — Tue, 14 May 2013 23:45:26 PDT

Audi X Factor Shoot
Shot by Bill Bennett, ASC

This gorgeous Black & White Audi A6 footage was shot by cinematographer Bill Bennett, ASC at Inyokern Airport in California on an ARRI ALEXA camera currently in testing phase (prototype) that is only sensitive to light in the infrared part of the spectrum, with wavelengths longer than 800 nanometers.

The images were recorded to a Codex on-board recorder in ARRIRAW format which was converted with ARRIRAW Converter (ARC) software, optimized for the monochrome infrared images. Lenses: ARRI/ZEISS 12mm Ultra Prime, Angenieux Optimo 17-80mm zoom.

Michael Rodriguez was the Producer and Production Coordinator. Ryan Correll was the Editor. Robin Charters was the First Camera Assistant. Jon and Marshall Chabot provided the most excellent Porsche Panamera high speed arm car from their company Chase Car, Inc. fitted with the Scorpio arm and head. Gilbert Alvarado was the Scorpio head tech.

Flynn Baglin did the excellent precision driving of the Audi A6. Katherine Beer was both the DIT and lovely actress. Support for the IR Alexa came from Arri, Burbank and Fred Molina. Editing was done with Final Cut Pro 7, and color correction was done with FCP "Color".

Music: "Andromeda" by Pavel Dovgal

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Hermann Vaske "Balkan Spirit" doc feat. Angelina Jolie and Marina Abramović

noreply@blogger.com (Alexandros Maragos) — Tue, 14 May 2013 04:37:50 PDT

Balkan Spirit
Hermann Vaske

Recently i had the pleasure of shooting for Mr.Hermann Vaske the Greek parts of his new documentary "Balkan Spirit" about the creative landscape of the region.

The documentary features actress Angelina Jolie and world-renowned performance artist Marina Abramović. Musicians like Baba Zula, Goran Bregović and the Boban i Marko Marković Orchestra. YouTube artist Jelena Petosevic and legendary filmmakers like Dušan Makavejev.

Directors as diverse as Jasmila Žbanić and Emir Kusturica. And scientists like Croatian astronomer Korado Korlević. Finally, representing young creatives Hermann Vaske talked to artists like Flaka Haliti and Želimir Barić.

Philosopher Slavoj Žižek takes us along a rollercoaster ride through the creative world of the Balkans. It is an exploration of the various facets of creativity: cultural, philosophical, political and artistic.

Angelina Jolie during her interview on Balkan Spirit
All in all, Balkan Spirit shows that after decades of war and destruction, a new creative renaissance is happening in the region. The young creatives are doing their own thing and don’t want to be put in boxes. They are eager to destroy the outside views and prejudices of the West and find a new fresh creativity outside the box.

Marina Abramović during her interview on Balkan Spirit
The Balkans is a European region that lives and breathes creativity. Despite the picture that the media presents, the Balkans offers the world a surprisingly fresh and passionate creativity.

The film by director and producer Hermann Vaske premiered at the 32nd Istanbul International Film Festival and will be broadcasted by Arte, the European Cultural Channel, later this year.

Visit: Hermann Vaske

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First-Ever Music Video from Space: Chris Hadfield - "Space Oddity"

noreply@blogger.com (Alexandros Maragos) — Mon, 13 May 2013 02:28:58 PDT

Chris Hadfield - Space Oddity
First-Ever Music Video from Space

First-Ever Music Video from Space
Canadian astronaut Chris Hadfield is scheduled to make his return trip to Earth late Monday after five months aboard the International Space Station, and he decided to commemorate his final hours in space with a spectacular music video.

Hadfield covers David Bowie's classic (and incredibly appropriate) song "Space Oddity." In the video, he sings a "revised version" of the song and plays the guitar solo while floating on board the International Space Station. Not only is Hadfield brilliant and fearless, he's also a great singer.

During his time at the space station, Hadfield has won plenty of fans by tweeting and posting videos about what it's like to live for so long in space.

Visit: Chris Hadfield | ISS

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David Bowie "The Next Day" music video Directed by Floria Sigismondi

noreply@blogger.com (Alexandros Maragos) — Fri, 10 May 2013 07:09:04 PDT

David Bowie - The Next Day
Directed by Floria Sigismondi

David Bowie - The Next Day by Floria Sigismondi
David Bowie's 'The Next Day' music video stars Academy Award winning French actress, Marion Cotillard, and Academy Award nominee and BAFTA Award winner, English actor, filmmaker and musician Gary Oldman.

Oldman and Bowie have worked together previously on the 1996 biopic Basquiat, wherein Bowie played Basquiat's friend and mentor, Andy Warhol, and Oldman took the role of fellow painter, Julian Schnabel. The pair also provided vocals on versions of two Bowie songs (You've Been Around and The King of Stamford Hill), on Reeves Gabrels' 1995 solo album, The Sacred Squall of Now.

Floria Sigismondi (Black Dog Films), the brilliant director of Little Wonder, Strangers When We Meet and the last Bowie video, The Stars (Are Out Tonight), was behind the camera again for The Next Day.

"The Next Day" sees the Black Dog director staging a blood-soaked bacchanal at a brothel while a Christ-like Bowie performs on stage in priestly vestments.

Gary Oldman plays a violent clergyman dirty-dancing with a scantily clad Marion Cotillard. We see the debauchery around them through visions of religious hypocrisy and vice: nudity, prostitution, gory flagellation and disembodied eyeballs – before Marion suddenly begins to bleed from stigmata marks.

As the blood pours out of her, the less-than-pious group turns to Bowie and condemns him for the scene at hand. The theatrical video closes with Bowie breaking through the fourth wall, giving a meta shout-out to the A-listers, “Thank you, Gary. Thank you, Marion,” before he vanishes from the biblical scene.

The feather-ruffling, sacred-gone-sinful film confirms that we never know what surprises are to come when the brilliant minds of Sigismondi and Bowie get together. A creative collaboration between the two visionaries means we can only expect one thing for sure: to be transfixed by provocative, cinematic visuals that will keep the world talking.

Written and conceived by David Bowie, the film was created as a companion piece to the song lyric.

The video was briefly taken off YouTube with a screenshot stating it was removed because "its content violated YouTube's terms of service.” The video was later restored to the site but viewing is restricted to people ages 18 and older.

Visit: David Bowie | Floria Sigismondi | Black Dog Films

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Canon 5D Mark III Firmware Version 1.2.1 with Uncompressed HDMI Output

noreply@blogger.com (Alexandros Maragos) — Tue, 30 Apr 2013 04:03:44 PDT

Canon 5D Mark III Firmware Version 1.2.1
Uncompressed HDMI Output

New Firmware Update For the Canon EOS 5D Mark III Provides Uncompressed HDMI Output Support And Improved AF Performance.

Canon U.S.A. released today the new firmware update 1.2.1 for the EOS 5D Mark III Digital SLR camera that significantly improves the camera's performance and usability. In response to requests from professionals working in the fields of cinema and television production, the firmware update enables the use of uncompressed HDMI Output support, making possible more efficient video editing and monitoring procedures. Additionally, the upgrade supports the advanced needs of photographers through improved AF performance when capturing still images.

Uncompressed HDMI Output Support
When shooting video, HDMI Output makes possible the recording of high-definition uncompressed video data (YCbCr 4:2:2, 8 bit) from the EOS 5D Mark III to an external recorder via the camera's HDMI terminal. This, in turn, facilitates the editing of video data with minimal image degradation for greater on-site workflow efficiency during motion picture and video productions. Additionally, video being captured can be displayed on an external monitor, enabling real-time, on-site monitoring of high-definition video during shooting.

Improved AF Functionality
Even when the EOS 5D Mark III is equipped with an extender and lens making possible a maximum aperture of f/8, the firmware update supports AF employing the camera's central cross-type points (currently compatible with maximum apertures up to f/5.6). Accordingly, the update will allow users to take advantage of AF when shooting distant subjects, benefitting sports and nature photographers, particularly when using telephoto lenses.

Firmware Version 1.2.1 improvements
1. Uncompressed HDMI output is now enabled.

2. Enables the center AF point to autofocus when the camera is used with Canon EF lens/extender combinations whose combined maximum aperture is f/8.

3. Improves the speed of the camera's acquisition of focus when using a Canon Speedlite's AF-assist beam.

4. Fixes a phenomenon in which the LCD monitor may freeze and display Err 70 or Err 80 when a still photo is taken during Live View or in movie shooting mode.

5. Fixes a phenomenon that may occur when the continuous shooting priority setting is enabled for multiple exposures, such that, after the sixth image is taken, there is a slight pause before the remainder of the sequence is completed.

6. Fixes a phenomenon in which the viewfinder display shows incorrect information during AEB shooting.

7. Communication with the WFT-E7 Wireless File Transmitter has been improved.

8. When images have been successfully transferred with the WFT-E7 Wireless File Transmitter through the FTP protocol, an "O" will be displayed. When images have not been successfully transferred with the WFT-E7 Wireless File Transmitter through the FTP protocol, an "X" will be displayed.

9. Fixes a phenomenon in which the camera may not function properly when an Eye-Fi card is used.

10. Fixes a phenomenon in which the focal length value listed in the Exif information is not displayed correctly for images shot with the EF 24-70mm F4L IS USM lens.

11. Fixes a phenomenon in which the lens firmware cannot be updated properly.

12. Corrects errors in the Arabic language menu.

13. Fixes a phenomenon in which the camera changes the AF microadjustment value to -8.

14. Fixes a phenomenon in which the on-screen guidance cannot be fully displayed when setting the maximum limit value for the "Setting the ISO Speed Range for Auto ISO" option.

Download: Canon 5D Mark III Firmware Update 1.2.1

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The Sound and Music of Oblivion

noreply@blogger.com (Alexandros Maragos) — Fri, 26 Apr 2013 02:41:36 PDT

The Sound and Music of Oblivion
SoundWorks Collection

The Sound and Music of Oblivion
SoundWorks Collection talk with visionary Director Joe Kosinski about the sound and music of his new film Oblivion. Also featured are Kosinski's behind-the-scenes collaborators include Composer Joseph Trapanese, M83's Anthony Gonzalez, and Re-recording Mixer Gary Rizzo, and Re-recording Mixer Juan Peralta.

Tom Cruise stars in Oblivion, an original and groundbreaking cinematic event from the visionary director of TRON: Legacy and producers of Rise of the Planet of the Apes.

On a spectacular future Earth that has evolved beyond recognition, one man's confrontation with the past will lead him on a journey of redemption and discovery as he battles to save mankind.

2077: Jack Harper (Cruise) serves as a security repairmen stationed on an evacuated Earth. Part of a massive operation to extract vital resources after decades of war with a terrifying alien threat who still scavenges what's left of our planet, Jack's mission is almost complete.

In a matter of two weeks, he will join the remaining survivors on a lunar colony far from the war-torn world he has long called home. Living in and patrolling the breathtaking skies from thousands of feet above, Jack's soaring existence is brought crashing down after he rescues a beautiful stranger from a downed spacecraft.

Drawn to Jack through a connection that transcends logic, her arrival triggers a chain of events that forces him to question everything he thought he knew.

With a reality that is shattered as he discovers shocking truths that connect him to Earth of the past, Jack will be pushed to a heroism he didn't know he contained within. The fate of humanity now rests solely in the hands of a man who believed our world was soon to be lost forever.

Visit: SoundWorks Collection | Oblivion

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Harris Savides: Visual Poet | MOMA Special Tribute

noreply@blogger.com (Alexandros Maragos) — Sat, 20 Apr 2013 03:35:01 PDT

Harris Savides: Visual Poet
MOMA Special Tribute June 5–21, 2013
In Memory of Harris Savides (1957-2012)
"I don't want to light their faces and bodies specifically.
I like to light the space."
Harris Savides, ASC who died this past September at the age of 55, began his career as a fashion photographer before applying his perceptive eye for beauty to music videos for Madonna, Chris Isaak, Michael Jackson, and a host of others.

After transitioning to feature films, Harris quickly established himself as a much sought after director of photography, working with directors such as Ridley Scott, David Fincher, Woody Allen, Sofia Coppola, Noah Baumbach, and, frequently, Gus Van Sant.

A Savides shot is often characterized by a sensitivity to design and the striking mutability of light, and a special attention to the actor’s place in the composition.

The films in this special MOMA tribute represent the wide range of his work, and the many directors who chose his camera to reflect their most personal stories. Savides’s final film, The Bling Ring (2013), directed by longtime collaborator Sofia Coppola, will be released in June 2013.

Harris Savides Tribute MOMA Film Screenings Calendar
• Birth
2004. USA. Directed by Jonathan Glazer. Screenplay by Jonathan Glazer, Milo Addica, Jean-Claude Carrière. With Nicole Kidman, Danny Huston. Print courtesy Warner Bros. 100 min.

• Wednesday, June 5, 2013, 7:00 p.m., Theater 2, T2
• Wednesday, June 12, 2013, 4:00 p.m., Theater 2, T2

• Greenberg
2010. USA. Written and directed by Noah Baumbach. Based on a story by Baumbach, Jennifer Jason Leigh. With Greta Gerwig, Ben Stiller. Print courtesy Focus Features. 107 min.

• Friday, June 7, 2013, 4:00 p.m., Theater 2, T2
• Sunday, June 16, 2013, 5:00 p.m., Theater 2, T2

• Somewhere
2010. USA. Written and directed by Sofia Coppola. With Stephen Dorff, Elle Fanning. Print courtesy Focus Features. 97 min.

• Friday, June 7, 2013, 7:00 p.m., Theater 2, T2
• Saturday, June 8, 2013, 4:00 p.m., Theater 2, T2

• The Key to Reserva
2007. USA. Directed by Martin Scorsese. Written by Ted Griffin. With Simon Baker, Kelli O’Hara. Courtesy Martin Scorsese. 10 min.

• Whatever Works
2009. USA. Written and directed by Woody Allen. With Larry David, Evan Rachel Wood. Print courtesy Sony Pictures. 92 min.

• Saturday, June 8, 2013, 1:30 p.m., Theater 2, T2
• Sunday, June 9, 2013, 5:00 p.m., Theater 2, T2

• Milk
2008. USA. Directed by Gus Van Sant. Screenplay by Dustin Lance Black. With Sean Penn, James Franco. 128 min.

• Tuesday, June 11, 2013, 7:00 p.m., Theater 2, T2
• Saturday, June 15, 2013, 7:30 p.m., Theater 2, T2

• Zodiac
2007. USA. Directed by David Fincher. Screenplay by James Vanderbilt. Based on the novel by Robert Graysmith. With Jake Gyllenhaal, Mark Ruffalo. DCP courtesy Paramount Pictures. 157 min.

• Tuesday, June 11, 2013, 7:00 p.m., Theater 2, T2
• Saturday, June 15, 2013, 7:30 p.m., Theater 2, T2

• Elephant
2003. USA. Written and directed by Gus Van Sant. With Alex Frost, Elias McConnell. 81 min.

• Monday, June 17, 2013, 4:00 p.m., Theater 2, T2
• Wednesday, June 19, 2013, 7:00 p.m., Theater 2, T2

• Illuminata
1998. USA. Directed by John Turturro. Screenplay by John Turturro and Brandon Cole. Based on the play by Brandon Cole. With Christopher Walken, John Turturro. Print courtesy Swank Motion Pictures. 119 min.

• Wednesday, June 19, 2013, 4:00 p.m., Theater 2, T2
• Friday, June 21, 2013, 4:00 p.m., Theater 2, T2

Harris Savides photographed by Brigitte Lacombe
"I light a room and let the people inhabit it, as opposed to lighting the people. It's more organic. You want to protect the people you're working with, and there's a constant battle between the best light for their face and the best light for the story. You don't want to get to the point where the audience notices the light." - Harris Savides
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OAKA Timelapse, Athens Olympic Indoor Sports Arena

noreply@blogger.com (Alexandros Maragos) — Mon, 22 Apr 2013 07:36:24 PDT

Olympic Indoor Sports Arena Timelapse
Athens, Greece

Athens Olympic Indoor Sports Arena Timelapse 2013
Single 2-hour Timelapse of the Olympic Indoor Sports Arena (OAKA) in Athens, Greece filling up (Attendance Record) during the Euroleague Playoffs Game 4 between Panathinaikos Athens and Barcelona Regal.

Shot on Canon 5DmkIII with the Canon EF 14mm f/2.8 L II Lens. Settings for the 1st hour was 3"2 exposure to give motion at the people entering the empty arena with 10 seconds interval, 100 ISO, f/16 and for the 2nd hour 3"2 exposure with 6 seconds interval, 100 ISO, f/16.

The 14mmII is a really good glass for timelapse photography but from f/2.8 to f/11 is soft in the far corners. Optimum aperture for the 14mmII is f/11 although f/16 is the best Fnumber to keep far corners sharp. Complete piece at 5k resolution. Edited in AE & FCP. Synthetic Atmosphere by Digifish Music.

View: Large
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Trireme Olympias Kickstarter Campaign

noreply@blogger.com (Alexandros Maragos) — Wed, 24 Apr 2013 01:32:05 PDT

Trireme Olympias - Voyage of a Legend
Kickstarter campaign

To restore and film the last
remaining Trireme in the world.
Support this campaign, pledge here
Trireme Olympias: A beacon of democracy and freedom, the ancient Athenian Trireme warships have been sited in poems and plays; studied by historians and architects and "replicated" by naval designers all over the world. These illustrious vessels played an imperative role during what is regarded as one of the most important battles of man kind, The Battle of Salamis.

The great Greek philosopher Aristotle wrote in Politics, "The common people, serving in the fleet, won the victory at Salamis, gave Athens power at sea, and this gave her an empire, and so they preserved democracy." The Battle of Salamis has obtained a "legendary" status in most circles. Perhaps because of the desperate circumstances of a Greek outnumbered-navy and the unlikely odds they would win.

In 1985, construction on the only Trireme replica, HN Olympias, commenced under the Auspices of the Hellenic Navy. The reconstruction of the ancient Athenian vessel is a "rebirth" of liberty in the modern world.

300: Rise of an Empire
Visit the Kickstarter Campaign and help "Olympias" to be fully restored, filmed and shipped to New York. If she's fully restored, she will join the Warner Brothers premiere of 300: Rise of an Empire in the USA, and there are many more opportunities that await her. By supporting this campaign, you will not only help restore a historic ship to its former glory, you will also be helping to support incredible craftsmen.

Trireme Kickstarter Campaign Promo
shot & edited by Alex Maragos.
Also available on Vimeo.
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GSC: The Greek Society of Cinematographers

noreply@blogger.com (Alexandros Maragos) — Thu, 11 Apr 2013 05:58:52 PDT

GSC: The Greek Society of Cinematographers
GSC Membership Roster 2013

The Greek Society of Cinematographers is reality. The first elections took place in Athens, Greece on Sunday, March 31, 2013. GSC is a non-profit association dedicated to the art of filmmaking, to promote and encourage the art and craft of cinematography.

Its membership is by invitation only and comprises talented and experienced Greek Cinematographers, many of whom have received awards and other accolades for their work. Currently, the GSC membership roster comprises 29 cinematographers.

Greek Society of Cinematographers Roster

Members of the Board:
Daskalothanassis Yiannis, GSC - President
Frentzos George, GSC - Vice President
Efthimiopoulos Dionysis, GSC - Secretary
Klotsotiras Bill, GSC - Treasurer
Theos Argyris, GSC - Member
Apostolopoulos Stelios, GSC - Substitution
Sarketzis Simos, GSC - Substitution

Members
Viskadourakis Angelos, GSC
Argyroiliopoulos George, GSC
Theodoropoulos Dimitris, GSC
Adamis Ilias, GSC
Voudouris Christos, GSC
Michopoulos Theodoros, GSC
Epaminondas Zaphiris, GSC
Gkikas Kostis, GSC
Kyrlidis Polydefkis, GSC
Mytilineou Olympia, GSC
Pagonis Spyros, GSC
Mitsis Fotis, GSC
Giannoulis Stamatis, GSC
Sarketzis Simon, GSC
Giannelis Yorgos, GSC
Kasimatis Dimitris, GSC
Mihelis George, GSC
Koutsaftis Philippos, GSC
Stamoulis Kostas, GSC
Bolivar Claudio, GSC
Maragoudaki Katerina, GSC
Grivas Alexis, GSC
Alexandris Christos, GSC
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"Apodemy" by Katerina Athanasopoulou. A portrait of Athens.

noreply@blogger.com (Alexandros Maragos) — Mon, 15 Apr 2013 13:47:38 PDT

Apodemy
By Katerina Athanasopoulou

Apodemy by Katerina Athanasopoulou
Commissioned by The Onassis Cultural Center on the theme of Emigration for Visual Dialogues 2012

From Katerina's Vimeo description: "Plato likens the human soul with a cage, where knowledge is birds flying. We’re born with the cage empty and, as we grow, we collect birds and they go in the cage for future use. When we need to access knowledge we put our hand in the cage, hunt for a bird – and sometimes catch the wrong one.

Ornithology uses the term “Zugunruhe” to describe the turbulent behavior of birds before they migrate, whether free or caged.
These two images, birds inhabiting the human soul and the distress of the migrating bird became the starting points for this film, commissioned on the theme of Emigration.

A flock of birds circles around and moves a cage vehicle, seeking escape from a city half finished and abandoned, with roads interrupted by fragments of fallen statues. Those hands are simultaneously the pursuit of knowledge and also the heroes/leaders of the past that we have rejected but are still haunting us.

In a time when Europe seems to be imploding, this is my portrait of Athens."

About Katerina Athanasopoulou
Katerina was born and raised in Athens, Greece and currently lives in London, UK. She studied Painting at the School of Fine Arts of the Aristotle University of Thessaloniki and then completed an Animation MA at the Royal College of Art in London.

Her short films, screened at international film festivals and galleries, are a hybrid of live action and animation, forming richly layered worlds with a strong feel for colour and texture. Video, photographs and animation coming together in a process akin to alchemy, embracing chance and experimentation.

Her work has been exhibited, amongst others, at the Third Thessaloniki Biennale, Istanbul Modern, Clermont Ferrand International Film Festival, The Onassis Foundation, Holland Animation Festival, EMAF, 25fps, Art on the Underground and Channel 4.

She has been a festival jury member at Clermont Ferrand International Film Festival (2007), Platforma Video in Athens (2007) and at the British Animation Awards, London (2012). She works as an Animation Director, collaborates with other artists and companies and teaches in art colleges in the UK.

Visit: Katerina Athanasopoulou
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Salvatore Totino Interview - Craft Truck Through the Lens

noreply@blogger.com (Alexandros Maragos) — Mon, 15 Apr 2013 10:57:43 PDT

Salvatore Totino Interview
Craft Truck - Through the Lens

Salvatore Totino - Craft Truck - Through the Lens
When your first feature is a $70 million, action-loaded sports film, there are reasons why. Salvatore Totino was hand-picked by Oliver Stone to lens “Any Given Sunday” and it’s been no secret since that Sal is one of the greatest talents in the business.

Always allowing each piece to have a look of it’s own, Sal creates beautiful, rich imagery, whether on studio pictures or indies. An exceptional personality and working attitude, combined with tremendous lighting instincts has led Sal to where he is today…

Visit: Craft Truck
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Gordon Willis Interview - Craft Truck Through the Lens

noreply@blogger.com (Alexandros Maragos) — Mon, 15 Apr 2013 10:08:19 PDT

Gordon Willis Interview
Craft Truck - Through the Lens

Part 1: Gordon Willis - Craft Truck - Through the Lens

Part 2: Gordon Willis - Craft Truck - Through the Lens
Gordon Willis is regarded by all of his peers as one of the greatest cinematographers in the history of film, and for many as the greatest of all time, period.

Without wanting to use hyperbole, between lensing The Godfather trilogy, many of Woody Allen’s best films (including Annie Hall, Manhattan, Stardust Memories, Interiors, and others) and several master thrillers for Alan J. Pakula (All the President’s Men, Klute, The Parallax View, The Devil’s own, and others), Gordon Willis practically single-handedly re-invented the craft of cinematography and the nature by which films were and are composed, lit, and executed.

Visit: Craft Truck
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Axiom Images RED Aerial Reel 2013 & RED Reel 2013

noreply@blogger.com (Alexandros Maragos) — Mon, 15 Apr 2013 06:35:06 PDT

Axiom Images RED Aerial Reel 2013 & RED Reel 2013
NAB 2013

Axiom Images RED Aerial Reel 2013 - NAB
Axiom Images is a resource for breathtaking aerial stock footage shot on RED. New shots added every week available for instant download in 1080, 4K, 5K and more.

RED Reel 2013 - NAB

Visit: RED
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Jim Jannard on 1080p, 4k, the 6k RED Dragon sensor and the competition

noreply@blogger.com (Alexandros Maragos) — Fri, 12 Apr 2013 06:14:38 PDT

Jim Jannard on 4K
RED Digital Cinema

Jim Jannard on REDUSER:
"We entered the market way back when with a 4K camera. Our thinking was that 1080P was not good enough to replace film. We were right apparently... 7 years later. What we learned along the way was that while 4K acquisition was certainly better than 1080P... it was not ideal.

A 4K finish from a bayer pattern sensor (what everyone does) begs for more captured resolution than 4K. A 1080P sensor (1920x1080) does not fill up a 1080P box. A 4K sensor also does not fill up a 4K box. Our M-X sensor captured 4.5K in a RED ONE and 5K in an EPIC-X (or EPIC-M). Much better. The 4K box was almost full. 6K... the 4K box is overflowing.

Going forward, we realize that down-rezzing has a HUGE advantage to final output. Hence the 6K Dragon.

Not only do you have the option to recompose, stabilize, and zoom... the idea of down-rezzing gives a much better final output to a 4K delivery. It lowers noise. You get apparent sharpness without sharpening.

So while the others have joined the party... they have entered where we were 7 years ago. They have thrown the ball to where the receiver was... not where he is. At some point you need to decide who you believe will deliver the future. The company with the vision, or the company that follows the vision. Who is ahead and who is behind?

If the company with the vision also happens to embrace their customers at all costs (upgrades instead of all new cameras)... you win every which way you look at it.

The choice is yours...

Jim"

Visit: RED | Jim Jannard
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NAB Show 2013 Coverage

noreply@blogger.com (Alexandros Maragos) — Thu, 11 Apr 2013 11:00:35 PDT

NAB Show 2013 Coverage
Zacuto - Spirit Juice Studios

Zacuto teamed up with Spirit Juice Studios to bring you the coverage of whats new and happening around the showroom floor at NAB Show 2013. Spirit Juice is visiting Blackmagic Design, Zeiss, Marshall, Cooke Optics, Atomos, MXL, Portabrace, and many more companies you won’t want to miss out on.

Discover the Blackmagic Production Camera 4K, the Blackmagic Pocket Cinema Camera, the Atomos Samuri Blade, the new line of Cooke anamorphic lenses and more.

Portabrace RIG cases including the ready to shoot case and the Ultra-Light CAR-2CAM case that works with camcorders that are up to 16.5 in length; DSLR’s or small camcorders. Portabrace also has new rain covers that are compatible with the Canon C300 and Blackmagic camera.

Spirit Juice Studios also visited the Zeiss booth to check out the new compact prime CP.2 135mm lens and a Cinezoom V.1 along with the Marshall booth to check out the 4K Monitor, Quad HD, and the Wireless Monitor.

MXL was showing off boundary microphones, battery powered large capsule condensers, and more! Watch the videos now below to catch up on whats happening at NAB this year!

NAB 2013 - Blackmagic Design

NAB 2013 - Zeiss Compact Prime

NAB 2013 - Zeiss Compact Zoom Lenses

NAB 2013 - Cooke Optics

NAB 2013 - Atomos Samuri Blade

NAB 2013 - Marshall Electronics 4k Monitor

NAB 2013 - Marshall Electronics Quad Monitor

NAB 2013 - Marshall Electronics Wireless Monitor

NAB 2013 - MXL Advanced 1/8in Mic Solutions

NAB 2013 - PortaBrace

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RED Camera Survival Guide

noreply@blogger.com (Alexandros Maragos) — Thu, 11 Apr 2013 11:33:37 PDT

RED Survival Guide
RED Digital Cinema

Jarred Land of RED posted on REDUSER the RED Survival Guide.
Download your digital copy here.
Visit: RED
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James Cameron announces Glasses-Free 3D

noreply@blogger.com (Alexandros Maragos) — Thu, 11 Apr 2013 00:55:37 PDT

James Cameron Announces Glasses-Free 3D
NAB 2013: CPG, Dolby, Philips

James Cameron Announces Glasses-Free 3D
James Cameron on the new alliance with CAMERON | PACE Group, Dolby Laboratories and Philips for glasses-free 3D. This is shown in 3D in the Dolby booth at the NAB Show.

Las Vegas, April 9, 2013: Dolby Laboratories, Inc. and Royal Philips Electronics in association with CAMERON | PACE Group (CPG) announced that they have signed an agreement to integrate the Dolby® 3D format into CPG’s 3D video content production workflow and to collaborate on the use of the Dolby 3D format. All parties believe that glasses-free 3D presentation in the home can be improved by delivering premium-quality autostereoscopic 3D content using the Dolby 3D format.

Dolby will showcase CPG’s 3D content in its booth at NAB Show 2013 (booth SU1702) as part of its demonstration of Dolby 3D technology from postproduction through distribution to playback.

Led by founders James Cameron and Vince Pace, CPG is advancing 3D through the development of products, solutions, and creative tools for use across all media channels. Supporting networks, studios, broadcasters, filmmakers, and creative teams globally, the company has considerable expertise that helps content producers realize the full potential of 3D as a new, immersive, and powerful storytelling medium. CPG-supported films and broadcasts have won numerous Oscars® and Emmys® for both technical and creative achievements, including three Best Cinematography Oscars in four years.

“James Cameron broke new ground in entertainment with his use of 3D in film, but it’s been a challenge to bring his vision to the home and to smartphones and tablets,” said Vince Pace, Founder and Cochairman, CPG. “The Dolby 3D format gives filmmakers the means to bring an artistic vision through production and distribution all the way to presentation, while delivering what we believe to be the best possible 3D experience to consumers—without the need for special glasses.”

Roland Vlaicu, Senior Director, Broadcast Imaging, Dolby Laboratories, said, “James Cameron and Vince Pace’s artistic and technological vision make CPG a great partner in our quest to make glasses-free 3D successful for creative professionals, broadcast networks, consumer electronics manufacturers, and ultimately for consumers.”

Dolby 3D is a comprehensive suite of technologies for the creation, delivery, and playback of glasses-free 3D content, producing autostereoscopic images with lifelike realism. In addition to eliminating the need for glasses, Dolby 3D has no narrow “sweet spot,” so viewers can enjoy the sharpest images, regardless of where they sit.

“Dolby and Philips are committed to taking the 3D experience to the next level, so we are very pleased to be working with CPG to jointly promote a technology that will transform the way 3D content is consumed all over the world and to introduce a new way for the creative community to tell the story,” said Guido Voltolina, General Manager of the joint project.

Visit: CPG | Dolby | Philips
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Claudio Miranda, ASC on Shooting Oblivion on Sony F65

noreply@blogger.com (Alexandros Maragos) — Wed, 10 Apr 2013 11:34:07 PDT

Claudio Miranda, ASC on Shooting Oblivion on the F65
NAB 2013 - Sony Professional USA

Claudio Miranda, ASC on Shooting Oblivion on the F65
Academy Award Winner Claudio Miranda, ASC, talks about using the Sony F65 to shoot Oblivion. An original and groundbreaking cinematic event from the director of TRON: Legacy.

Claudio says on his site: "Oblivion: We just finish shooting. I feel so fortunate to have had such a fantastic cast and crew. Jonas Steadman - 1st AC Has been with me awhile. A fantastic focus puller. Sharp sharp sharp even with my low light levels. Mike Coo - Key Grip Great problem solver. Very efficient and fast. Chris Strong - Gaffer Great all around. Very experienced and fast. These three pulled together a fantastic crew and would never recommend them only for selfish reasons. They are MINE!"

Oblivion featurette: On set in Earl’s Peak, Iceland.
Oblivion is an original and groundbreaking cinematic event from the director of TRON: Legacy. On a spectacular future Earth that has evolved beyond recognition, one man's confrontation with the past will lead him on a journey of redemption and discovery as he battles to save mankind. The film stars Tom Cruise, Morgan Freeman, and Olga Kurylenko.

Jack Harper (Cruise) is one of the last few drone repairmen stationed on Earth. Part of a massive operation to extract vital resources after decades of war with a terrifying threat known as the Scavs, Jack’s mission is nearly complete.

Living in and patrolling the breathtaking skies from thousands of feet above, his soaring existence is brought crashing down when he rescues a beautiful stranger from a downed spacecraft. Her arrival triggers a chain of events that forces him to question everything he knows and puts the fate of humanity in his hands.

Oblivion Official Trailer
Oblivion was shot in 4K resolution on location across the United States and Iceland.

Director:
Joseph Kosinski

Director of Photography:
Claudio Miranda

Producers:
Joseph Kosinski, Peter Chernin, Dylan Clark, Barry Levine

Scriptwriters:
Joseph Kosinski, William Monahan, Karl Gajdusek, Michael Arndt

Starring:
Tom Cruise, Olga Kurylenko, Andrea Riseborough, Morgan Freeman, Melissa Leo, Nikolaj Coster-Waldau.

Music:
M83, Daft Punk

Studio:
Chernin Entertainment

Distributor:
Universal Pictures

Release date:
April 19, 2013

Budget:
$130 million

Visit: Claudio Miranda | Oblivion | Sony F65
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