On Twitter yesterday, Governor Bob McDonnell of Virginia tweeted a link to a press release advertising “170+ new jobs” in Virginia and that his administration is “working hard to continue expanding the film industry in Virginia!” It sounds like good news for those Virginia residents freelancing in front of and behind the camera, but the Governor’s tweet might be a bit misleading.
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Announced on the Facebook fan page, “Ghosts Don’t Exist,” a film by DC-based production company 19th and Wilson, has signed a distribution deal with Echo Bridge Entertainment.
‘Below the Beltway’ Movie Wins Audience Award at Newport Beach Film Festival (Updated with Q&A Video)
Below the Beltway, a film I worked on last summer as camera utility, was accepted into the Newport Beach Film Festival where it premiered and ended up winning the audience award!
In an economy that is down and a market that has been plummeting for years due to the fall off of DVD and the rise of Netflix, Redbox and piracy, studios have found their newest industry cash cow in the third dimension, waiting to take back the profitability of cinema. However, it remains to be seen whether 3D is in it for the long haul.
I want to highlight five directors who have taken the digital format and utilized it for their films, often optimizing the ability of the digital format and taking advantage of it’s pros to deliver a polished product. Each of the five directors listed below shot one or more films using digital cinema cameras and in the process, was breaking new technical ground in the film industry.
Yesterday was the premiere of Ghosts Don’t Exist, a feature film shot in Leesburg, VA and produced by 19th and Wilson, for which I was 2nd assistant camera (you can read part 1 of that story). The film was shown as the closing selection for the DC Independent Film Festival in the “Twilight Zone” session, sharing the time with two short films.
Back in the day, before the REDone and other digital cinema platforms, Hollywood used to make films on, well, film. There are, however, certain directors who have adopted either a completely digital workflow, or many aspects of one. These are the top 5 most guilty directors, and their films, of not just shooting digital, but utilizing it in the wrong ways and not playing to digital cinematography’s strengths.