"Dune" Film Editing

Article: Sandworms, Gladiator Pits, and Zendaya — How ‘Dune: Part Two’ Balances the Intimate with the ‘Bignormous’ - IndieWire

Article: Art of the Cut: Behind the Scenes of “Dune” with Editor Joe Walker, ACE - Frame.io Insider

Joe Walker, ACE has edited five films with Director Denis Villenueve. He worked on both "Dune" films, including the new "Dune Part Two."

Click the Article Links above for looks into what went into editing both films.

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Disney De-Ages Actors with New Software

Article: Disney’s new neural network can change an actor’s age with ease - Ars Technica

Disney has developed a neural network to de-age actors with an automated process. The new AI technique, called Face Re-aging Network (FRAN), saves a lot of time. Previously, full scans of actors had to be made, and visual effects artists had to manually complete the process. Now, the new software can do it with far less effort.

Read the article above to learn more!

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Cinerama Dome and Parent Chain Close for Good

Article: ArcLight Cinemas and Pacific Theatres to Close - The Hollywood Reporter


The famous Cinerama Dome movie theater in Hollywood has closed its doors. This is in addition to its owner, ArcLight Cinemas closing for good. Also affected is the Pacific Theaters chain of Southern California movie theaters.

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"The Martian" How Visual Effects Got Damon on Mars!

Article: How ‘The Martian’ Visual Effects Team Put Matt Damon on Mars - Variety



Variety has a video featuring the visual effects team behind the Matt Damon sci-fi film "The Martian." See how they got Damon on Mars!

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"Star Wars: The Force Awakens" - Crafting the Visual Effects

Article: How the ‘Star Wars’ Visual Effects Team Reawakened the Force (VIDEO) - Variety



The visual effects of "Star Wars: The Force Awakens" used a combination of old and new techniques. This Variety video goes into how the effects artists made it happen!

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"The Chair" - Starz Filmmaking Docu-Series

Photo: Starz Networks

Facebook Page: The Chair - Starz

Home Page: The Chair - Starz

*** Episode 3 is tonight on Starz at 11 p.m. ET ***

One of my all-time favorite TV shows is "Project Greenlight," from 2001. It chronicled a first-time filmmaker getting his chance to make a $1 million-dollar-budgeted movie. It showed the filmmaking process from pre-production through post-production. I loved it! I've always been fascinated with filmmaking, and have worked on micro-budget movies, and well as being an extra on a network TV show. I have also taken two cinematography classes, working with professional film equipment.

So, here we are in 2014, and Chris Moore, who brought "Project Greenlight" to TV with the help of Ben Affleck and Matt Damon, has his solo series on the U.S. Starz movie network. In this series, two first-time directors are both doing their take on the same script. As with "Project Greenlight," we see them from pre-production through post-production.

The two directors they have come from very different perspectives. Shane Dawson does raunchy YouTube videos that mainly appeal to 12-year-old girls. Anna Martemucci comes from an independent-film background. So, their end products could very much echo those backgrounds.

The four directors from the three seasons of "Project Greenlight" have found their own ways into the business after the show. Pete Jones, from Season 1, directed another indie movie, and wrote the story for "Hall Pass." Efrem Potelle from Season 2 went into Visual Effects. His co-director from Season 2, Kyle Rankin, has been acting and directing. John Gulager, from Season 3, has been acting, directing and doing cinematography. Best of luck to the two new directors on "The Chair!"

Project Greenlight Info: Project Greenlight - Wikipedia

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Movie Scripts of 2013 and Links to Read Them!

Story: The 2013 Awards Season Screenplays (with links) - Blue Cat Screenplay Competition

There are notable scripts from 2013 of all kinds. Personally, my favorite film of 2013 was "Rush." That script is available to view, with many others from 2013. The scripts are available in .pdf format.

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