I could tell where this was going from the first moments. Not too bad though.
I could tell where this was going from the first moments. Not too bad though.
On paper this camera blows away the cameras they filmed Avatar on, which still stands as the biggest movie of all time. So there’s that…
Because I don’t have a lot of time for all this shit…
The Unfinished Films Of Stanley Kubrick
Cronenberg Wants to Remove Your Breast
Honest Gump
Metropolis Beam of Light Effect
TFH: Andromeda Strain
So you thought Pando might be different?
Until last week I was working this story for Pando Daily, where I was a staff writer and cartoonist. We intended to publish the name — not to endanger him (which in any case would not have been possible since Langley had yanked him off his post), but to take a stand for adversarial media.
Journalists ought to publish news wherever they find it, whatever it is, damn the consequences. Credible media organizations don’t protect government secrets. They don’t obey spy agencies. Real journalists don’t cooperate with government — any government, any time, for any reason. My editor and I believed that, by demonstrating a little fearlessness, we might inspire other media outfits to grow a pair and stop sucking up to the government.
There is no longer a “we.” Pando fired me over the weekend, along with the investigative journalist David Sirota.
Roilling shutter and limited bit depth may cause a second look at the new wonder cam. Definitely needs stability and slow panning. The camera maxes out at 8 bits color and requires an external recorder at 4k. Cost?
The BMCs still offer incredible value for motion capture, and better rolling shutter performance. The Digital Bolex is also a great cam with a distinct look and vibrant colors. We’re spoiled for choice these days.
Still, if you really need to shoot in the dark this is the only camera today that can feasibly capture what you need.
More.
Another great concept that disappointed, like Spring Breakers
This one caught my attention due to its unique legal questions: shooting a guerrilla film inside Disney World. The film’s lawyer argued successfully that it was a parody, and it may be, but this may not have been the original inspiration – or intent.
What it seemed like for the entire first half was a tepid family vacation. The fantasy didn’t ramp up fast enough, and what fantastical elements there were didn’t seem central or convincing. It was like they didn’t believe in the fantastic enough to run with it, and so it was confined to the realm of family melodrama.
But then the second half came, and I almost flipped and reassessed my review. Things got out of hand, but perhaps lacking any internal logic. I’m afraid this script could have used a second opinion before they shot it. That’s a shame, because you only get one chance to skewer the big rat, and this one didn’t so much. The company was never really the antagonist; it merely provided the backdrop. Some shots made it appear like Disney was the root of the problem, but I didn’t find the theme well enough connected to the plot.
Much of the film involves the main guy lusting after a pair of young French girls. That really has nothing to do with Disney – now does it?
The two kids, however, really shine. Gotta give them props for filming a guerrilla movie all over a sprawling amusement park. I just wish there was more Cronenberg and Gilliam and less vacation photography.
3/5