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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Cook Anamorphic Lenses & Red S8K Helium Camera

https://www.theguardian.com/media/2...aming-giant-on-the-brink-of-global-domination

Netflix is beginning to dominate the Film Festival Circuit. Below is a quote from “The Guardian of London”. Think about it how the Paradigm of Film distribution is changing the Industry, and the Big Battle is still before us.

“This year, the company is spending $8bn on content, including 700 original TV shows”

“At the Berlin film festival last February, Clare Binns took her seat for the premiere of a Spanish film that was generating a quiet buzz. She hoped it might play at Picturehouse Cinemas, the British chain of cinemas she runs. In the film, La Enfermedad del Domingo (Sunday’s Illness), an abandoned daughter confronts her well-to-do mother in a remote mountain village. The film’s director, Ramón Salazar, has a knack for epic melodrama that has drawn comparisons with the work of Pedro Almodóvar.”

“It was a fantastic film, and one that is made to be seen in cinema,” says Binns. “But it was only when I was sitting there watching it that I noticed the logo.”

“Alongside the name of the film’s Spanish production company, there rose the ubiquitous – and increasingly divisive – mark of Netflix. The streaming giant, which this week announced it has more than 125 million global subscribers, had financed the film. Binns immediately knew this drastically reduced her chances of getting anywhere near it. “We went straight to the producer to try to work out a way – in Spain, they are doing a theatrical release – but Netflix didn’t want to do anything else,” she adds.”

Humberto Rivera
 
Recently there has been a swirl of news around the Hydrogen One Smartphone, now here is another attachment.

https://www.dpreview.com/news/37833...at-produces-4v-holographic-video-in-real-time

“RED and Lucid unveil 8K 3D camera that produces 4V holographic video in real time.”

https://www.dpreview.com/news/53004...graphic-display-is-coming-to-at-t-and-verizon

“RED's Hydrogen One phone with holographic display is coming to AT&T and Verizon.”

It’s like the Cart before the Horse, but then who cares, they are going on their reputation to deliver, and it’s a very high bar they set for themselves, but so was the now common 4K camera that’s seem like reaching for the stars just a few years ago.

Humberto Rivera

https://www.lucidcam.com/

This just the beginning as it was with the Red One, now look where we’re now, and how much we have to go down this road.
 
Recently announced “Cooke brings S7/i Full Frame Plus lenses to Cine Gear 2018”

https://www.cookeoptics.com/u/news.html?Open&k=cinegear-2018-cooke-s7i-full-frame-plus

“Leicester, UK – 22 May 2018 – Cooke Optics will bring its S7/i purpose-built full frame lens range to Cine Gear 2018, along with Anamorphic/i, Anamorphic/i SF (“Special Flair”), Panchro/i Classics and its other acclaimed lens families.”

"The S7/i Full Frame Plus lens range is designed from the ground up to cover the emergent full frame cinema camera sensors up to the full sensor area (46.31mm image circle) of the RED Weapon 8K."


Humberto Rivera
 
https://www.theguardian.com/film/20...s-story-falls-short-100m-us-takings-franchise

Interesting “Solo: A Star Wars Story disappoints with $100m at the US box office” thing about that for a moment! How many films gross over that; can you come up with an answer, well not may on their first week.

“After its US release on the Memorial day weekend, Solo, starring Alden Ehrenreich, took an estimated $83.3m (£63m) for its first three days, well short of Rogue One’s $155.1m for the same period. With an extra day’s results for the “four-day weekend”, Solo has reached an estimated $103m – but that is well down on the projected take of $130m -$150m. Solo’s figures are also well behind Episode III – Revenge of the Sith’s $158.4m in 2005, which also benefited from a four-day opening weekend.”

Could this erosion of box office receipts have something to do with Netflix, Amazon, Apple, and Hulu and so on? It’s possible, well it may be. Or as bizarre as it sounds, maybe “Climate Change”, I throw it out there because the Memorial Day week-end was miserable from the North Easter to Florida, just a thought.

Whatever the REASON, the Motion Picture Distributing Paradigm is slowly changing, before our very eyes! If true, that would affect the Production Budgets of the future.

https://www.msn.com/en-us/movies/ne...d/ar-AAyavkN?ocid=spartandhp#image=AAxLCCk|24

Humberto Rivera
 
https://www.cookeoptics.com/l/s7i-full-frame.html

How we forget sometimes, the Cooke S7/i DO exist, but just about no one bother to report it at Cine Gear 2018, they are; Full Frame, they works with RED Weapon 8K (46.31mm image circle), they are all T2, and they come in these focal lengths; 16 mm, 18 mm, 21 mm, 25 mm, 27 mm, 32 mm, 40 mm, 50 mm, 65 mm, 75 mm, 100 mm and 135 mm. Just saying, and they come with the Cooke Look!

Humberto Rivera
 
This June’s Box Office take has been a record haul, but at the same time Netflix continues inch forward into the Motion Picture Audience territory. So the saga continues.

http://www.boxofficemojo.com/news/?id=4413&p=.htm
“After delivering a record first quarter, 2017 struggled in the second and third quarters before rebounding in the fourth. 2018 is having no such problem. With yearly grosses already topping $6 billion, outpacing 2017 by +10% and the record year of 2016 by nearly +11%, 2018 has already brought us the second largest first quarter ever and now a record second quarter, fueled by record months in April and June. Additionally, the year has seen record grosses in the winter season, the second largest spring season ever and summer 2018 that is currently pacing +19% ahead of last year with the third largest summer ever at the same point in the season.”

https://www.theguardian.com/film/2018/jul/04/sundays-illness-ramon-salazar-netflix-gemini-aaron-katz
“Even some of the film’s early champions might be unaware that it has already been quietly released on Netflix, which helped develop Ramón Salazar’s low-key fourth feature and secured international distribution rights after its Berlin premiere in February. Skipping cinemas outside Spain, it slipped directly on to the streaming platform last month. Word of mouth is slowly trickling out, though it’s open to question to what extent it’s reaching the audience that would most embrace this refined, acutely moving story of mother-and-child reunion, which plays a little like late Almodóvar with a crystalline chill. As a patrician society madam and the wounded adult daughter she abandoned in childhood, Susi Sánchez and Bárbara Lennie play it with a poise and precision that almost aches. As the two women spend 10 days together at a remote mountain getaway, the drama thaws into an exhilarating current of confession and recrimination. You can see why Netflix got on board. Mindful of the large crossover sway of the Spanish-speaking audience, they’ve been bulking up their range of original Spanish and Latin content of late, though innovative, big-deal arthouse works of this calibre are still rare in that library. Sunday’s Illness is a relatively rarefied item by Netflix standards, but there’s a larger investment at play here. They’re backing Salazar’s next, more mainstream project, Elite, a five-part TV drama about crime and class conflict in an exclusive boarding school. With Netflix, even when cinematic art is served, television is often the endgame.”

Humberto Rivera
 
https://www.cookeoptics.com/u/news.html?Open&k=cooke-optics-welcomes-caledonia-investments

“Cooke Optics welcomes acquisition by Caledonia Investments plc - Management team and day-to-day company activities remain unchanged – Investment will enable faster company growth and development of new lenses”

“Leicester, UK – 16 July 2018 – Cooke Optics is pleased to announce the acquisition of a majority stake in the company by Caledonia Investments plc, a self-managed investment trust. The current Cooke Optics management team, including Les Zellan (Chairman), Robert Howard (Chief Executive Officer) and Alan Merrills (Chief Operating Officer), remain in place, and day-to-day activities at the Leicester-based company will continue unchanged.”

“We have been experiencing a sustained period of growth, and the time was right to look for a new investor to help us develop further,” said Les Zellan, Chairman, Cooke Optics. “Caledonia, another historic British company, has a reputation for long term investment and for supporting management teams to grow their businesses. With a strong financial partner in Caledonia, Cooke is in an excellent position to continue designing and making more of our coveted lenses for the film and television industry.” Cooke now offers more lens series than any other company; every range is designed from the ground up, not repurposed from existing components, and every lens is hand crafted in the Leicester factory.”

“Cooke’s most recent developments include the acclaimed S7/i full frame lens range which correctly anticipated the current large format trend; the Panchro/i Classic range which replicate the beloved look of vintage Speed Panchro lenses but with modern housing, mounts and glass; and the Anamorphic/i SF range that adds more exaggerated anamorphic attributes including lens flare and oval bokeh. The company is also behind the lens metadata standard, /i Technology, which captures valuable lens information for use on-set and in post-production. The latest Cooke lens ranges will be on display on Stand 12.D10 at IBC 2018, held in Amsterdam, Netherlands from 14-18 September 2018.”

Humberto Rivera
https://www.fdtimes.com/2018/07/16/cooke-optics-caledonia-same-management/
 
https://www.theguardian.com/media/2...ontent-changed-way-consume-television-forever

“Netflix’s first step into original programming was described as “the biggest gamble in its 14-year history”. In 2011, it outbid HBO and AMC (the channel behind Mad Men) to acquire David Fincher’s remake of the political drama House of Cards. It was a punt that paid off. House of Cards won Emmys and Golden Globes, and provided a hit that would shift people’s opinions of Netflix. It was no longer just a place to find old shows and films to stream but now a studio in its own right – one that would challenge the likes of HBO, Sky and the BBC in the golden age of TV.”

“After House of Cards, Netflix had middling success with its original shows. Marco Polo was seen as an expensive flop, while Hemlock Grove and Bloodline struggled to gain traction. But in 2013 Jenji Kohan’s prison dramedy, Orange is the New Black, gave Netflix a show that was critically adored, inventive and unique. It, along with House of Cards, became a reason to subscribe to the service. The New Yorker’s Emily Nussbaum said it “felt like a blast of raw oxygen” and boasted “an ensemble of electrifying strangers, all of them so good that it seemed as if some hidden valve had been tapped, releasing fresh stories and new talent”.

Humberto Rivera
 
Scientists have been working on a formula for predicting a “Motion Picture” success, I’m not sure if it would work, but nonetheless they’ve been working on it, so at least it deserved a look-at-it. They have come up with six categories of film; ‘Man in a hole’ story arc – a fall followed by a rise – found to be most commercially successful. They are; Rags to Riches: ‘An ongoing emotional rise’; Riches to Rags: ‘An ongoing emotional fall’; Man in a Hole: ‘A fall followed by a rise’; Icarus: ‘A rise followed by a fall’; Cinderella: ‘Rise-fall-rise’; Oedipus: ‘Fall-rise-fall’. Interesting Idea, not sure if they are up to something!

For more information, please contact Tony Moran, International Communications Manager, University of Birmingham on +44 (0) 121 414 8254 or +44 (0)782 783 2312. For out-of-hours enquiries, please call +44 (0) 7789 921 165.

https://arxiv.org/abs/1807.02221
https://arxiv.org/ftp/arxiv/papers/1807/1807.02221.pdf
https://www.birmingham.ac.uk/news/latest/2018/07/data-science-and-movies.aspx
https://www.theguardian.com/film/2018/jul/24/uk-scientists-uncover-formula-box-office-movie-success

Humberto Rivera
 
Wow, the Cooke 1.8x Anamorphic/i Full Frame Plus, with an Image Circle of 42.27 mm or Full Frame Image Area of 36 mm wide x 24mm high. The core set will be 40 mm, 50 mm, 75 mm and 100 mm, all T2.3. Front diameters will be 110 mm. They will be similar in size to the Cooke S7/i Full Frame Plus lenses. These will be followed by 32 mm, 135 mm and 180 mm. The /i3(/i Cubed) functions is included along with the Cook Look.

The Red MONSTRO 8K VV 35.4 Megapixel CMOS Sensor, with an image of 40.96 mm x 21.60 mm or Diagonal of 46.31 mm.

https://www.fdtimes.com/2018/09/10/look-cooke-1-8x-anamorphic-i-full-frame-plus/ Below is quation from the Film and Digital Times article; Les explained, “If you do the math, to get 2.39:1 desqueezed from a 1.5:1 Full Frame image, you’d have a 1.6x ratio. But to us, that’s not a very interesting anamorphic look. It’s like being half pregnant. The classic oval bokehs are missing. “If we did a traditional 2x squeeze, there would be a lot of wasted space and pixels lost in cropping (1.5:1 x 2 = 3:1). So we arrived at 1.8x, which keeps the classic look and oval bokehs. Also, a 2.39:1 image squeezed to 1.8x benefits from covering over 90% of the Full Frame sensor area.” The math is good. 1.5:1 x 1.8 = 2.7:1. This is close to the classic, original anamorphic ratios. In this era of streaming and aspect ratio independence, we are no longer limited by projection lenses and 2.39:1 screens. These words may send various companies and committees into paroxysms of parrying prose, but perhaps creative freedom and aspect ratio agnosticism will prevail. Another advantage of the 1.8x anamorphic squeeze is that it benefits from the full resolution of the camera’s full picture height."

https://www.fdtimes.com/2018/09/10/look-cooke-1-8x-anamorphic-i-full-frame-plus/
https://www.cookeoptics.com/l/anamorphic-full-frame-plus.html
https://www.cookeoptics.com/i/itech.html

Humberto Rivera
 
“These words may send various companies and committees into paroxysms of parrying prose, but perhaps creative freedom and aspect ratio agnosticism will prevail. Another advantage of the 1.8x anamorphic squeeze is that it benefits from the full resolution of the camera’s full picture height." Les Zellan, Chairman, Cooke Optics Limited.

The Image Circle Coverage for the Cooke Anamorphic is a full 24 mm x 36 mm still size sensor (∅ 42.27 mm) with 1.8 squeeze. At 1.8x you have that Sweet Spot with a great anamorphic feel and about 90% of the pixels at 2.39:1 (90%). Shoot at 2.7:1 and you have all the available frame and 100% of the pixels. It all fits nicely within the Red 8K Vista Vision (Red measurements) camera 40.96 mm x 21.60 mm Image Circle of ∅ 46.31 mm Diameter. So the Cooke 1.8x Anamorphic/i Full Frame Plus, fit nicely within the Red Aspect Ratio. The Image Height problem has been solved, we have gone from 18 mm to 24 mm, and we have 21.60 mm in the Red 8K Vista Vision Camera, with a horizontal of 40.96 mm.

Two key phrases jump out to me; “paroxysms of parrying prose” and “aspect ratio agnosticism will prevail”. Why? Well because this new 1.8x Aspect Ratio when display in the Motion Picture Screen is a Virtual representation of the Images on the screen. It’s in the transition from the “Real Squeeze Image” to the “Virtual Display Image” on the movie screen were the “visual magic occurs” as you consume the images in full motion within each persons, in a darken room. They burst onto the scene as an anamorphic displays that stay true to any ultimate reality that is unknown and probably unknowable within the aesthetic role of depth of field in Anamorphic Cinematography.

https://www.cookeoptics.com/techdoc...200688631/61FDTimes2.0-300m-june2014-pg24.pdf
“An important feature of anamorphic cinematography is the look of the images compared with normal spherical lenses, whether it be distortion, or colored streaks, or bokeh. But distortion, streaks and bokeh are not the only contributors to the difference between the look of a spherical lens and an anamorphic lens; depth of field also plays an interestingly subtle part in this difference of look.”

“For example, a 100 mm anamorphic 2x squeeze lens has a focal length of a 100 mm in the vertical plane and a focal length of 50 mm in the horizontal plane. So, the ratio of the two focal lengths is 2x (100/50 = 2). However, the difference of the two depth of fields is 4x. Why is that?”
“You will see that for spherical lenses having a 2x difference in focal length, like our 100 mm Anamorphic lens, with its 50 mm focal length in the horizontal plane (both set at the same T/stop and focus distance), you will see approximately a 4x difference in depth of field. In other words, if the depth of field for the 100 mm is 2 inches, it will be 8 inches for the 50mm lens.”

“A more mathematical way to think of this is to compare the beam diameter in object space for a 100 mm spherical lens compared to a 50 mm spherical lens at the same T-stop. You’ll find there is a 2x difference in beam diameters, but a 4x difference in beam area (area of a circle is πr²).”

“Earlier, I mentioned the out of focus highlights (bokeh). In addition to those, the overall anamorphic look of the picture is created not only by the in-focus highlights but also by any objects in the picture. The large 4x difference in depth of field actually contributes substantially towards the overall look of the image, whether there is actual bokeh in any particular shot. This is something that cannot be reproduced with spherical optics shooting Super 35 flat or, for that matter, with the post-processing of captured images.”

https://www.cookeoptics.com/techdoc...D0007CCB47/Cooke Anamorphic-brochure-2017.pdf
“All of the anamorphic characteristics demanded by filmmakers today with the Cooke Look® and oval bokeh. That’s the Cooke Anamorphic/i Look. Images beautifully rendered for film and especially suited for use with digital cameras. Exceptionally well corrected aberrations over the entire image area – astigmatism, lateral and longitudinal colour – that will render shape, form and soul to your images. While the “look” is crucial, Cooke’s precision engineering and seamless integration with other equipment is equally important.”

The Look on the screen is optically differently, while the subtle difference might not be perceive because one is involved in “Motion Picture” content, is nonetheless there. As films become more digital, as to where it’s now almost all digital, there is a search for the traditional; “cinematic look’ it’s sort of hard to explain, but when you see-it you can say “ah that’s it”. One thing might be the High Quality Anamorphic Lenses with the proper film squeeze, say 1.8x. This might be one of the places where the “magic occurs”, another is the “Resolution” of the “Image”, again these are all subtle things, but together they are magical. This addition to the Anamorphic/i range has been designed to meet the growing appetite for large format production, while applying the popular anamorphic characteristics including flare and oval bokeh. The Cooke Look, horizontal streaks flared with a light source, beautiful bokeh and smooth skin tones.

It’s a 1.8x Anamorphic Squeeze in Full frame, however if you’re NOT going to use the anamorphic character achieved with the 1.8x squeeze with the Full Frame, what has sometimes described as the “anamorphic funkiness”, then you might as well shoot with the S7/i spherical lenses. However, if you want to have that extra character, then shoot anamorphic, but at 1.6x it’s the character is not there, at 2x you loose of 25% of your pixels (of the 24 mm x 36 frame illumination circle), so at 1.8x you lose about 10% of the pixel’s which is an acceptable lose, that happens when you shoot spherical from the top and bottom of the picture (in 2.39:1), however if you want to get the Full Frame (24 mm x 36 mm) 2.70:1 (2.76:1 Ultra Panavision), so you have the latitude in Aspect Ratio to play around with. The range is from 2.39:1 (lose 10% of pixels) all the way to 2.76:1 (Full Frame). You always operating within the 8K real estate, so as long as what you’re doing is within the Image Circle of 46.21 mm area.

For reference again, the Red 8K Vista Vision Camera, has a sensor with a horizontal of 40.96 mm, and vertical of 21.60 mm, 8196 x 4320 (Diagonal ∅ 46.21 mm), with 35.4 Megapixels, and 17+ stops of Dynamic Range. So the Cooke Image Area fits nicely within the Red Specs. So you actually have a frame of 36 mm x 21.60 mm in the Red 8K Vista Vision Camera with the Cooke 1 8x Anamorphic Full Frame Plus Lenses. So the pixels you lose on the top and bottom, you gain on the sides, it’s up to you depending on your taste. Who knows, maybe Red might decide to have a 24 mm height without losing the 40.96 horizontal, in their interchangeable sensors when they hit the market, just a thought. Anything is possible in the digital world, you’re not restricted by the size of the film, because there is NO film, so you might well just forget film. There is constant calibration going on between the Sensor Size and the Lens Manufacturer, they continue to make their moves, like a dance well into the future. By the end of the year 2019 there should be the following lenses available for purchase; 32 mm, 40 mm, 50 mm, 75 mm, 100 mm, 135 mm, 180 mm, all T2.3 1.8x Anaphoric Lenses.

Humberto Rivera

https://vimeo.com/290235042
https://ascmag.com/articles/cooke-optics-anamorphic-i-full-frame-plus-lenses
 
Stanly Kubrick was one of those Filmmakers that always seem to be on almost everyone’s list of their “Top 20 Filmmakers” he Directed a small amount of Feature Films, they are; Paths of Glory, Spartacus, Lolita, Dr. Strangelove, 2001: A Space Odyssey, A Clockwork Orange, Barry Lyndon, The Shining, Full Metal Jacket, and Eyes Wide Shut.

Stanley Kubrick directed 13 feature films and three short documentaries over the course of his career, from Day of the Fight in 1951 to Eyes Wide Shut in 1999. Many of Kubrick's films were nominated for Academy Awards or Golden Globes, but his only personal win of an Academy Award was for his work as director of special effects on 2001: A Space Odyssey.

https://en.wikipedia.org/wiki/Filmography_and_awards_of_Stanley_Kubrick

Here is an interesting article that recently appeared in The Guardian of London.
https://www.theguardian.com/film/2018/jul/15/stanley-kubrick-lost-screenplay-burning-secret-found

‘Festival of Stanley’: touring Kubrick exhibition heads to UK

https://www.theguardian.com/film/20...tion-uk-design-museum-london-clockwork-orange

The ghost of Stanley Kubrick lives on, it seems that living filmmakers don’t want to let Stanley Kubrick go. So we search for Rembrandt’s and Stanley Kubrick’s wherever we find them. I would say that’s a good thing, because he represents though his work the persona of a Truly Great Filmmakers. Once in a while you have to look backwards to see where you’ve been before you can look forward to see where you’re going.

He has 10 Full Pages on Wikipedia. From Talk: Stanley Kubrick/Archive 1 to Talk: Stanley Kubrick/Archive 10

https://en.wikipedia.org/wiki/Talk:Stanley_Kubrick/Archive_1
https://www.theguardian.com/film/20...tion-uk-design-museum-london-clockwork-orange

His first world war classic, Paths of Glory, is one of cinema’s most powerful anti-war movies, widely acclaimed as a masterpiece, as was his Roman epic, Spartacus, both of which starred Kirk Douglas. Now a “lost” screenplay by director Stanley Kubrick has been discovered – and it is so close to completion that it could be developed by film-makers.

Entitled Burning Secret, the script is an adaptation of the 1913 novella by the Viennese writer Stefan Zweig. In Kubrick’s adaptation of the story of adultery and passion set in a spa resort, a suave and predatory man befriends a 10-year-old boy, using him to seduce the child’s married mother.

He wrote it in 1956 with the novelist Calder Willingham, with whom he went on to collaborate on Paths of Glory the following year.

The screenplay was found by Nathan Abrams, professor in film at Bangor University and a leading Kubrick expert, who said: “I couldn’t believe it. It’s so exciting. It was believed to have been lost.”

He added: “Kubrick aficionados know he wanted to do it, [but] no one ever thought it was completed. We now have a copy and this proves that he had done a full screenplay.”

Kubrick made only 13 feature films, but he is revered as a master film-maker and supreme visual stylist with a painstaking approach to meticulous detail. His sci-fi epic, 2001: A Space Odyssey, pushed the boundaries of special effects and was at No 6 in the most recent Sight and Sound critics poll of the greatest films of all time.

Kubrick, an American who lived most of his life in Britain, died in 1999, months after completing Eyes Wide Shut, the controversial psychosexual thriller starring Tom Cruise and Nicole Kidman.

His Burning Secret screenplay bears the stamp of the script department of MGM. It is dated 24 October 1956, when Kubrick was still relatively unknown, having just made his crime heist film, The Killing.

MGM is thought to have cancelled the commissioned project after learning that Kubrick was also working on Paths of Glory, putting him in breach of contract. Another account suggests that MGM told Kubrick’s producing partner James B Harris that it did not see the screenplay’s potential as a movie.

But Abrams said that “the adultery storyline” involving a child as a go-between might have been considered too risque” in the era of Hollywood’s production code, which then governed morality in film-making: “The child acts as an unwitting go-between for his mother and her would-be lover, making for a disturbing story with sexuality and child abuse churning beneath its surface.”

He described Burning Secret as “the inverse of Lolita”, Kubrick’s adaptation of Vladimir Nabokov’s controversial story of love and lechery. “In Burning Secret, the main character befriends the son to get to the mother. In Lolita, he marries the mother to get to the daughter. I think that with the 1956 production code, that would be a tricky one to get by. But he managed with Lolita in 1962 – only just.”

In the Burning Secret screenplay, Kubrick and Willingham wrote of the child: “A young boy of about 10 stands on the veranda, hands clasped behind him in an almost adult manner ... Lonely, bored, he plays with a yo-yo …”

They described the predator as a “very handsome, masculine-looking man of about 30”.

Abrams said that the screenplay extends to well over 100 typed pages. “It’s a full screenplay so could be completed by film-makers today.”

Steven Spielberg reworked another unrealised Kubrick project – A.I., the 2001 sci-fi film, two years after Kubrick’s death.

Abrams’s book Stanley Kubrick: New York Jewish Intellectual, was published in March by Rutgers University Press. He said that the Burning Secret screenplay shows that Kubrick took a Viennese Jewish novel and translated it into a contemporary American idiom, just as he was to do with Eyes Wide Shut, which was based on another Viennese novella, Arthur Schnitzler’s 1926 Dream Story.

Filmworker review – tales from the life of Stanley Kubrick’s right-hand man 4 out of 5 stars.
In Zweig’s original, the woman and her son are Jewish and the story is set in Austria. Abrams said: “Kubrick rewrites it and it’s contemporary American with American names.”

The boy is called Eddie rather than Edgar.

A version of Zweig’s novella, based on a different screenplay, was made in 1988 by Kubrick’s former assistant Andrew Birkin.

The screenplay is owned by the son of one of Kubrick’s former collaborators. Abrams discovered it while researching his next book, Eyes Wide Shut: Stanley Kubrick and the Making of His Final Film, to be published by Oxford University Press next year.

Humberto Rivera
 
Starz Breaks the Mold of the Look of Latino TV with Vida and Cooke Lenses

“So why move from Cooke 5/i primes, which seem perfect for Vida, to Cooke S4/i primes for Season Two? The main reason was space restrictions. “We planned this move for Season Two,” explained Cabana. “As much as I love the look of the 5/i, Vida does shoot in a lot of practical locations that involve tight spaces and with the fluid handheld style, it is important to be able to maneuver around without bumping into walls or objects. With the Alexa Mini, which we used on Season One and will use for Season Two and now with the Cooke S4/i, we can get into small spaces, move around better and still have a beautiful esthetic from an equally well-crafted lens.”

The Full Article at; https://www.cookeoptics.com/u/news.html?Open&k=latino-tv-carmen-cabana-vida-cooke-lenses

“The S4/i primes are Cabana’s favorite lenses, having used them on 19 of the 24 films she’s worked on. For Season Two, she will have the full set of focal lengths at her disposal. “Now my lens choice will depend on the circumstances. Outdoors, I like the look of longer lenses; they help to focus on the characters. I rarely use the 12mm, except for shooting plates which on Season Two is very necessary, now that we moved the bar room to a stage and we have to do rear projection from the window,” she said. For Season Two, the 32mm will be her ‘go to’ lens: “The 32 is a gorgeous lens for masters, and the S4/i gives me the best of both worlds, being small and fast.”

Humberto Rivera
 
I thought I share a common tool I use for on the spot immediate research. In the back rear pocket of my blue jeans, there is pre-visualization tool, it called a cellular phone. It’s something that we all carry on our persons. The aspect ratio could vary according to the type of cellular you my carry, mine happens to be Samsung Galaxy Note 9, other may have different devices. My phone present me with an almost Wide Screen Aspect Ratio of 1:39.1 (approximately) on the screen and a 1:91.1 Aspect Ratio on the Computer (approximately). You can travel to locations, special events, or use them as pre-visualization tools for background plates, or anything else that enters you mind. It’s always available, 24/7/365, just for the taking of instant visual notes, ready to go, do away with the paper NOTE-PAD, however you could use the voice recorder on the phone for quick notes with your voice. It’s my visualization tool of first choice, because of its immediacy and then I put the phone back on my rear blue jeans pocket and keep on going. Soon these Camera Phone will commonly feature over 40 MP or 50 MP of resolution (within a year or so), we’re on the dawn of a digital revolution in the Camera Phone’s resolution speculations (it goes on and on).

The actual measurements of the Samsung Galaxy Note 9 are 76.4 mm X 161.9 mm, you can EXTRAPOLATE whatever you want in terms of ASPECT RATIO, or whatever. Do whatever you want, but JUST DO IT with whatever you have, the phone is always there with you. My particularly cellular phone happens to be extremely well adapter to low light situations, so that’s also a plus in any circumstances’ day or night, without the flash so I can get a nice even tone in the image.

The Red Digital Cinema Camera Company needs to be aware of these advances and others we are not. They must have been working on some sort of sensor as well, that will exceed the Image Resolution of 40 MP or 50 MP (the current MAX MP on the RED MONSTRO is 35.4 MP in DSMC2), the K’s on the Red camera are about to go up again, I’m just saying they got to do it, to stay ahead of the madding crowd that’s always behind trying to dethrone them. Of course Red has its own Phone Camera, the HYDROGEN which is suitable for pre-visualization, or just simply photography on site, or anything you might want, Red is truly your all around Camera Company.

https://www.instagram.com/p/BqAmdwE...JVU2kapg9MYUoc7Y6nL0EfvMwJb33JHVsW5usb4E_rJ1U
https://www.instagram.com/p/BrK5U9G...acIZx9IvEwgxXpfjUyGrh7Z2xZfTpzJgGN_ZtmgMoy-Mk

The cellular phone can be used for capturing multi image of anything that may be of interest to you, in my case, I capture about 250 to 400 images per anything that might be of interest to me, and then transferred it to the computer using Windows 10 Pro, for reference. Then I look at all the photos and see what’s missing, go back to the location or whatever and adjust my interest on a particular subject or location. Catalog them by sequences, and then put them on a folder under the project file. This might seem like a rather simple way of working, but visually is rather effective nonetheless. Just a thought. Open a simultaneous MS WORD document to the side on the computer at the same time, and start to write using the images as reference, I’s always good to have to something to look at as you write. It’s like taking your fingers and placing them on an imaginary Aspect Ratio, to look at the world, but in this case you get to capture lots of image within the camera. The camera has two Focal Lengths Wide Angle at f1.5 and x2 twice the image at f2.4 both at 12 Megapixels, there is also magnification mode with some loss of resolution. Everything helps when you sit at the Computer with the MS WORD file.

It’s not a big revelation, but though I write it down. Sometimes is the simple IDEAS that are the one that turns on the LIGHT our imagination switch. By the way, if you want to use VIDEO with your smart phone, you can also do that, but be aware you NO LONGER have that Wide Angle View (approximately 1:39.1) but rather the traditional phone video aspect ratio.

Humberto Rivera
 
Cooke presents Anamorphic/i Full Frame Plus lens at BSC Expo 2019

https://www.cookeoptics.com/u/news.html?Open&k=bsc-expo-2019

“The new Anamorphic/i Full Frame Plus range has been designed to meet the growing appetite for large format production, while applying the popular anamorphic characteristics including flare and oval bokeh; for an exaggerated flare, the range is also available with the SF ‘Special Flair’ coating. The Anamorphic/i Full Frame Plus set, featuring a T2.3 stop, will offer 32mm, 40mm, 50mm, 75mm, 100mm, 135mm and 180mm lenses; the 50mm, which will be available to view at BSC Expo, is the first lens to be shown. The first partial sets are expected to start delivering to coincide with NAB, consisting of the 40mm, 50mm, 75mm and 100mm; the remaining three lenses will follow later in 2019. The image circle covers a full 24x36 still size sensor, with a 1.8 squeeze. The 1.8 de-squeeze is designed to cover the full height of the sensor giving 90% coverage of the sensor when de-squeezed at the 2.40 aspect ratio. Like all Cooke lenses, the Anamorphic/i Full Frame Plus range includes /i Technology that collects detailed lens data for VFX and post-production teams.”

Humberto Rivera
 
David, if you belief in “Resolution” and “Dynamic Range”, as I do, more is always better. You can’t have one without the other, they go together like a nice fit. The sensor and the glass. Just like Film, 16 mm, 35 mm, 65 mm, and of course IMAX. So in the digital world, is always RESOLUTION, the Red Vista Vision 8K Camera (the best you can get for NOW), and the best Glass you can get your hands on depending on your budget are the Cooke. If you can’t find an Anaphoric glass that fits your needs, I would then shoot with the S7/i lenses. Just saying.

The new Cooke Anamorphic/i 1.8x Full Frame Plus (24 mm X 36 mm Aspect Ratio) to begin its incremental delivery latter this year, is a good answer, IF you have the budget, they already said they are going to be expensive, the best always cost more. Cooke also said the 1.8x was the limit of getting that funky anamorphic look in their lenses. Even at that squeeze ratio 1.8x gives you a 1.5:1 x 1.8 = 2.7:1, so you have lose about 10% from the sides for 2.39:1. All these lenses will cover the Full Frame image area of 36 mm wide x 24mm high (image diagonal of 43.27 mm). Now we wait for Red to come out with their convertible variable sensor size camera, so we might see a 24x36 sensor, remember the lenses will start to come out in 2019. RESOLUTION, RESOLUTION!

In my opinion, Alexa is “old technology” Red is a current as of their last FREE Software Up-grade, which is in a continual flow forever!

Humberto Rivera
 
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