The ASC Technology Committee has been renamed the ASC Motion Imaging Technology Council. Established in 2003, the Committee has helped organize efforts to study and assess subjects ranging from digital cameras and lens optics to motion imaging workflows, advanced color management, virtual production techniques digital archiving and more recently virtual reality.
“During our past 14 years of proactive motion picture and TV industry engagement, the ASC Technology Committee has played a significant leadership role in guiding the evolution and development of key motion imaging technologies to better support our filmmaking art form,” noted Chairman Curtis Clark, ASC.
“Many of our industry partners and supporters, along with users of our technologies, have suggested that the Committee’s name does not sufficiently convey the scope and influence that our activities have had on important motion imaging technology developments,” he continues. “In response to that input and after careful consideration, we have decided to change the Committee’s name to the ASC Motion Imaging Technology Council (MITC) — or ‘My Tech.’ We believe this better represents the expanded scope of the work we are doing and our widely recognized role as industry leaders — influencing the advancement of motion imaging technologies in ways that best serve the creative interests of filmmakers while emphasizing the cinematographer’s contribution to the art form.”
Clark added, “Our Subcommittees will now be designated Committees of the ASC Motion Imaging Technology Council. We will continue to encourage our Committees to work in a coordinated manner, combining their expertise on topics of wide interest and concern, including ACES, HDR, digital motion picture camera developments, look management, virtual production techniques, lens developments, DI, motion imaging workflows, projection and display technologies, archiving, as well as advanced imaging.”
MITC’s latest reports on a variety of technological issues will be published on in the September issue of the SMPTE Motion Imaging Journal as part of the 2017 SMPTE Progress Report.
Review: Writer-Director Coralie Fargeat’s “The Substance”
In its first two hours, "The Substance" is a well-made, entertaining movie. Writer-director Coralie Fargeat treats audiences to a heavy dose of biting social commentary on ageism and sexism in Hollywood, with a spoonful of sugar- and sparkle-doused body horror.
But the film's deliciously unhinged, blood-soaked and inevitably polarizing third act is what makes it unforgettable.
What begins as a dread-inducing but still relatively palatable sci-fi flick spirals deeper into absurdism and violence, eventually erupting — quite literally — into a full-blown monster movie. Let the viewer decide who the monster is.
Fargeat — who won best screenplay at this year's Cannes Film Festival — has been vocal about her reverence for "The Fly" director David Cronenberg, and fans of the godfather of body horror will see his unmistakable influence. But "The Substance" is also wholly unique and benefits from Fargeat's perspective, which, according to the French filmmaker, has involved extensive grappling with her own relationship to her body and society's scrutiny.
"The Substance" tells the story of Elisabeth Sparkle, a famed aerobics instructor with a televised show, played by a powerfully vulnerable Demi Moore. Sparkle is fired on her 50th birthday by a ruthless executive — a perfectly cast Dennis Quaid, who nails sleazy and gross.
Feeling rejected by a town that once loved her and despairing over her bygone star power, Sparkle learns from a handsome young nurse about a black-market drug that promises to create a "younger, more beautiful, more perfect" version of its user. Though she initially tosses the phone number in the trash, she soon fishes it out in a desperate panic and places an order.
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