RED Digital Cinema will showcase its new cinematic Full Frame sensor for WEAPON cameras, MONSTRO™ 8K VV, at the 25th Camerimage International Film Festival in Bydgoszcz, Poland, from November 11-18.
The MONSTRO 8K VV sensor is an evolutionary step beyond the DRAGON 8K VV sensor with improvements in image quality including dynamic range and shadow detail. A WEAPON with MONSTRO 8K VV sensor offers Full Frame lens coverage, captures 8K full format motion at up to 60 fps, produces ultra-detailed 35.4 megapixel stills, and delivers incredibly fast data speeds — up to 300 MB/s.
Festival attendees visiting RED’s stand in the Opera Nova Main Foyer will have the opportunity to handle the company’s latest DSMC2® cameras, including WEAPON 8K VV, WEAPON 8K S35 and EPIC-W 8K S35. RED cameras will also be on display at Leica, Cooke, Zeiss, Angeniuex, Hawk and Panavision stands.
An official sponsor of Camerimage, RED will also host two seminars at the festival. On Nov. 13, cinematographers Christopher Probst, ASC and Markus Förderer, BVK will discuss “The Future of Digital Formats.” From music videos to feature films and original TV series, Probst and Förderer will share their process for evaluating tools, and approach to choosing a camera and lenses. Attendees will also learn how their progressive filmmaking, combined with the high resolution, large format and flexibility of RED cameras, helped to produce the desired results for their latest endeavors. The seminar will take place at 4:30 pm in the Miejskie Centrum Kultury (MCK).
On Nov. 15, Light Iron colorist Ian Vertovec and RED’s Dan Duran will discuss RED’s “High Resolution Image Processing Pipeline.” Attendees will learn about the color science behind RED’s Image Processing Pipeline (IPP2), which offers a completely overhauled workflow experience featuring enhancements such as better management of challenging colors, an improved demosaicing algorithm, smoother highlight roll-off, and more. Light Iron will also be featuring modern high resolution workflow, HDR, and its unique color grade used in the Netflix original series, GLOW. The seminar will take place at 4:45 pm in the Miejskie Centrum Kultury (MCK).
Jennifer Kent On Why Her Feature Directing Debut, “The Babadook,” Continues To Haunt Us
"The Babadook," when it was released 10 years ago, didn't seem to portend a cultural sensation.
It was the first film by a little-known Australian filmmaker, Jennifer Kent. It had that strange name. On opening weekend, it played in two theaters.
But with time, the long shadows of "The Babadook" continued to envelop moviegoers. Its rerelease this weekend in theaters, a decade later, is less of a reminder of a sleeper 2014 indie hit than it is a chance to revisit a horror milestone that continues to cast a dark spell.
Not many small-budget, first-feature films can be fairly said to have shifted cinema but Kent's directorial debut may be one of them. It was at the nexus of that much-debated term "elevated horror." But regardless of that label, it helped kicked off a wave of challenging, filmmaker-driven genre movies like "It Follows," "Get Out" and "Hereditary."
Kent, 55, has watched all of this — and those many "Babadook" memes — unfold over the years with a mix of elation and confusion. Her film was inspired in part by the death of her father, and its horror elements likewise arise out of the suppression of emotions. A single mother (Essie Davis) is struggling with raising her young son (Noah Wiseman) years after the tragic death of her husband. A figure from a pop-up children's book begins to appear. As things grow more intense, his name is drawn out in three chilling syllables — "Bah-Bah-Doooook" — an incantation of unprocessed grief.
Kent recently spoke from her native Australia to reflect on the origins and continuing life of "The Babadook."
Q: Given that you didn't set out to in any way "change" horror, how have you regarded the unique afterlife of "The... Read More