News & Updates
July 31, 2018
Playful App Design for Bonarego Tourist Guide
Cuneyt Sen shared a really cool project on Behance for an app design presentation as well as brand identity for Bonarego, a tourist guide application with video & audio targeting today’s independent travelers. The reason I like this project is of course interface design but also the way it is shows the features. From the UI point of view there are a few nice touches. I love the organic element it was created and how it is used on certain elements of the UI, like the avatar for example. I also know that there are several issues with this design, one being accessibility with the very low color contrast.
For more information make sure to check out http://www.cuneytsen.com/
Jul 31, 2018
Source: Abduzeedo UI/UX
July 30, 2018
New screenshots of a potential user interface for the Magic Leap augmented reality headset give us a firmer grasp of what the AR world inside the goggles might actually look like during day-to-day use.
The post Magic Leap’s augmented reality interface floats wherever you want it appeared first on Digital Trends.
Source: Digital Trends VR
July 30, 2018
Tired of browsing the internet in boring regular reality? If you’re a Daydream VR user, you no longer have to, as Google has just announced the ability to use Chrome from within your Daydream VR headset.
The post Daydream VR users can browse with Google Chrome in virtual space appeared first on Digital Trends.
Source: Digital Trends VR
July 29, 2018
With $61.5 million, “Mission: Impossible – Fallout” easily took top position this weekend. The sixth entry in the “Mission: Impossible” series performed on a level consistent with past efforts; adjusted to 2018 ticket prices, it ranks fifth of the five titles released wide initially, slightly below “Rogue Nation.” (“Ghost Protocol” had an IMAX-only initial release).
This is repeat of the successful “Oceans 8” a few weeks ago, when unadjusted opening grosses put it ahead of earlier “Oceans” films. It was a distraction to the real story of a female reboot performing well. Similarly, the opening number here doesn’t need the claim of best in series to be called a hit.
Whatever its relative placement among the “Mission” films (or its lead Tom Cruise – adjusted #7 among his films over his long career), it’s a reasonable start. And its $92 million international initial result (with most of the rest of the world yet to open) suggests this could be a $600 million+ worldwide performer on par with “Rogue Nation.”
That’s vital for Paramount, which backed the $178 million production, by far the most important in its limited stable. And also for Cruise, who remains vital and a major draw for these films even if his star is fading otherwise (see: “American Made” and “The Mummy”).
What remains to be seen is whether this — the best reviewed in the series, ranking near the top of any studio release this year in terms of critical response — will have the same strong 3.5 multiple as “Rogue Nation.”
That would get this to $210 million, which is about James Bond series did last time out. “Spectre” grossed $213 million adjusted; though bigger worldwide, “Mission” looks about the same in domestic returns, with somewhat lower budgets and a less iconic reputation. The A Cinemascore is the best in franchise history, suggesting strong word of mouth.
“Teen Titans Go! To the Movies”
The second new wide release was the animated “Teen Titans Go! To the Movies.” This low-budget animated title, which originated on the Cartoon Network, had a routine $10.5 million start, with a long life ahead past its theatrical play.
Total grosses for the weekend came in around $155 million, up from $144 million last year. Sequels and franchise titles comprised about 84 percent of the total, down from last weekend’s possible record of 88 percent. Year to date is up just over eight percent, a drop from the 10 percent improvement when the month began.
The case for sequels took a hit with drops for last week’s top two entries. “Mamma Mia! Here We Go Again” dropped 57 percent; the original only fell 36 percent, and held its declines to under 40 percent for its first nine weeks on the way to a more than five-times multiple. This time around, it looks to end up just under three times (around $100 million). Several large territories remain to open, so $250 million additional worldwide should put this medium-budget film into profit, but not enough to suggest more “Mamma Mia” ahead.
Denzel Washington’s surprisingly strong “The Equalizer 2” apears badly hurt by the male-audience dominated “Fallout.” Its 61 percent drop is far more than the 45 percent seen for the 2014 original, and suggests it will gross around $90 million. Most of the world has yet to open, but this will need to have at least an equal gross overseas to break even.
At just under 40 percent decreases, the two biggest hits on the list fell the least of all titles. “Incredibles 2” continues its drive to $600 million, while “Jurassic Park: Fallen Kingdom” is just under $400 million. Combined, they will score over $1 billion worldwide, with “Jurassic” ahead by over $200 million. Both evidence, of course, for continued reliance on franchise and sequels.
The Top Ten
1. Mission: Impossible – Fallout (Paramount) NEW – Cinemascore: A; Metacritic: 86; Est. budget: $180 million
$61,500,000 in 4,386 theaters; PTA (per theater average): $14,022; Cumulative: $61,500,000
2. Mamma Mia! Here We Go Again (Universal) Week 2; Last weekend #2
$15,000,000 (-57%) in 3,514 theaters (+197); PTA: $4,269; Cumulative: $70,426,000
3. The Equalizer 2 (Sony) Week 2; Last weekend #1
$14,000,000 (-61%) in 3,388 theaters (no change); PTA: $4,132; Cumulative: $64,231,000
4. Hotel Transylvania 3: Summer Vacation (Sony) Week 3; Last weekend #3
$12,305,000 (-48%) in 4,005 theaters (-262); PTA: $; Cumulative: $
5. Teen Titans Go! To the Movies (Warner Bros.) NEW – Cinemascore: B-; Metacritic: 70; Est. budget: $10 million
$10,510,000 in 3,188 theaters; PTA: $3,297; Cumulative: $10,510,000
6. Ant-Man and the Wasp (Disney) Week 4; Last weekend #4
$8,400,000 (-49%) in 3,013 theaters (765); PTA: $2,788; Cumulative: $183,124,000
7. The Incredibles 2 (Disney) Week 7; Last weekend #5
$7,157,000 (-40%) in 2,616 theaters (-548); PTA: $2,736; Cumulative: $572,781,000
8. Jurassic World: Fallen Kingdom (Universal) Week 6; Last weekend #7
$6,775,000 (-%) in 2,685 theaters (-696); PTA: $2,523; Cumulative: $397,556,000
9. Skyscraper (Lionsgate) Week 3; Last weekend #6
$5,400,000 (-52%) in 2,773 theaters (-1,049); PTA: $1,947; Cumulative: $59,153,000
10. The First Purge (Universal) Week 4; Last weekend #8
$2,230,000 (-56%) in 1,400 theaters (-931); PTA: $1,593; Cumulative: $65,486,000
Source: IndieWire film
July 29, 2018
Les Moonves has been accused of sexual misconduct by six women who shared their stories in an extensive New Yorker article, but not everyone believes the accusations. Lynda Carter, who played Wonder Woman on the TV series of the same name from 1975–79, tweeted her support of the CBS President and CEO: “Les Moonves is a close friend. I’ve known him for 40 years,” she wrote. “He is a kind, decent and honorable man. I believe him and I believe in him.”
Among Moonves’ accusers is actress Illeana Douglas, who claims that he forcibly kissed her and held her down during pre-production of a TV pilot in 1997; “it has stayed with me the rest of my life, that terror,” she told Ronan Farrow. “What happened to me was a sexual assault, and then I was fired for not participating,” Douglas added.
Carter isn’t the only one who’s come to Moonves’ defense, as Sharon Osbourne is also skeptical of the allegations (“interesting timing, seems like an attempt to discredit Leslie before a major court case. I hope people don’t rush to judgement,” she tweeted) and his wife Julie Chen wrote in a statement, “I fully support my husband and stand behind him and his statement.”
In response to Farrow’s article, Moonves released a statement of his own:
“Throughout my time at CBS, we have promoted a culture of respect and opportunity for all employees, and have consistently found success elevating women to top executive positions across our company. I recognize that there were times decades ago when I may have made some women uncomfortable by making advances. Those were mistakes, and I regret them immensely. But I always understood and respected—and abided by the principle—that ‘no’ means ‘no,’ and I have never misused my position to harm or hinder anyone’s career. This is a time when we all are appropriately focused on how we help improve our society, and we at CBS are committed to being part of the solution.”
CBS is investigating the claims against him.
Les Moonves is a close friend. I’ve known him for 40 years. He is a kind, decent and honorable man. I believe him and I believe in him.
— Lynda Carter (@RealLyndaCarter) July 28, 2018
Source: IndieWire film
July 29, 2018
This weekend, yet another documentary burst onto the scene to continue the trend of the season. “Scotty and the Secret History of Hollywood” (Greenwich), a far less reverent treatment of famous figures than “RBG” and “Won’t You Be My Neighbor?,” had a mighty Los Angeles exclusive debut that could expand to wider national interest based on its eye-opening anecdotes about major stars, from roomies Cary Grant and Randolph Scott to besties Spencer Tracy and Katharine Hepburn.
The rest of the specialized scene continues its strong summer surge. Four Sundance premieres, “Blindspotting” (Lionsgate), “Sorry to Bother You” (Annapurna), “Eighth Grade” (A24), ” and “Three Identical Strangers” (Neon) all grossed over $1 million as they expanded to wider breaks. Most summer weekends are lucky to have one film at that level. These are counter-programmers to the top-heavy sequel/franchise studio releases, which this summer are wider providing less competition to specialized than usual.
Scotty and the Secret History of Hollywood (Greenwich) – Metacritic: 68; Festivals include: Toronto 2017, Palm Springs 2018
$30,941 in 1 theater; PTA (per theater average): $30,941
Buttressed by in-person appearances from always-candid Scotty Bowers, the 95-year-old central figure in this documentary adaptation of his sexy Hollywood tell-all “Full Service,” the Arclight Hollywood gross tallied an impressive nearly $31,000, with numbers constant throughout the weekend. The scandalous subject matter near ground zero of its tale may have helped. Going forward, the dishy revelations of behind-the-scenes activities of some of the biggest names in movies could have wider appeal. These initial numbers will easily grant access to wider theaters, more so with the recent surge in documentary interest.
What comes next: The IFC Center in New York, with continued in person appearances, is next, with a multi-hundred screen national release to follow.
Puzzle (Sony Pictures Classics) – Metacritic: 67; Festivals include: Sundance, Seattle 2018
$63,364 in 5 theaters; PTA: $12,673
This remake of the Argentine romance “Rompecabezas,” about a secluded woman (Kelly Macdonald) who comes to life when she discovers jigsaw puzzles, got the usual top theater New York/Los Angeles Sony Pictures Classics placement. It opened in the range of most of their recent releases, the best of which (“The Rider”) reached a little over $2 million.
What comes next: Washington and San Francisco add on this Friday.
The Captain (Music Box) – Metacritic: 64; Festivals include: Toronto 2017, Rotterdam 2018
$8,279 in 1 theater; PTA: $8,279
German director Robert Schwendkte returns home after studio success (“R.I.P.D.,” “Red”) with this World War II tale of a deserter who takes on the identity of a wanted man as he tries to survive. Its exclusive New York opening was above average for most recent subtitled releases.
What comes next: Chicago opens next week, with other top cities on August 12.
93Queen (Abramorama) – Metacritic: 69
$7,257 in 1 theater; PTA: $7,257; Cumulative: $17,020
The five day number (it opened on Wednesday in Manhattan) is impressive for this documentary about the challenges of a female EMS unit in the Hasidic Brooklyn community.
What comes next: Los Angeles opens August 15, with more national dates over the following months.
Detective Dee & the Four Heavenly Kings (Well Go) – Metacritic: 58
$132,000 in 31 theaters; PTA: $4,256
Great auteur Tsui Hark (“Peking Opera Blues,” “Once Upon a Time in China”) again directs the latest release in this ongoing Chinese franchise. The parallel release to international openings at theaters in areas with Chinese-American audiences yielded modest results.
What comes next: This will likely stay put at these initial core theaters.
Hot Summer Nights (A24/South by Southwest 2017) – (est.) $12,000 in 12 theaters
Courtesy of Sundance Institute
$1,325,000 in 532 theaters (+509); PTA: $2,491; Cumulative: $1,794,000
The second weekend quick expansion for Carlos Lopez Estrada’s urban story about a man on probation trying to keep out of trouble did about half as well per theater as “Sorry to Bother You” (which had more second weekend screens) a couple weeks back.
McQueen (Bleecker Street)
$84,378 in 5 theaters (+1); PTA: $16,878; Cumulative: $247,700
Interest in British designer Alexander McQueen’s turn in the famous creative icon documentary spotlight continued on the second weekend with only one additional theater.
Generation Wealth (Magnolia)
$37,400 in 11 theaters (+7); PTA: $3,400; Cumulative: $95,313
The impact of excessive financial worth on contemporary culture is the focus of this documentary, which expanded in top theaters to modest results.
Far from the Tree (IFC)
$18,178 in 3 theaters (+1); PTA: $6,059; Cumulative: $43,435
This documentary based on the bestseller about families with special needs children continues to find interest in its very early stages.
Sorry to Bother You (Annapurna) Week 4
$1,450,000 in 802 theaters (-248); Cumulative: $13,351,000
After its initial strong splash, Boots Riley’s acclaimed genre-bender is dropping quickly. The gross fell just short of 50 per cent this weekend. This looks to reach the $16-17 million mark, which would put it in range of “Detroit,” Annapurna’s biggest gross so far.
Eighth Grade (A24) Week 3
$1,318,000 in 158 theaters (+125); Cumulative: $2,966,000
This early teen comedy continues its strong initial performance as it expands nationally. The numbers are ahead of the third weekend of another (very different) comedy “The Death of Stalin,” and suggest a potential wider breakout appeal beyond specialized audiences.
Three Identical Strangers (Neon) Week 5
$1,271,000 in 433 theaters (+101); Cumulative: $6,771,000
Another very strong weekend for this rare non-celebrity documentary. The gross is down slightly with additional theaters as it widens, but the per-screen gross is holding well. This looks to easily get past $10 million, which makes it one of the most impressive specialized achievements of the year.
Won’t You Be My Neighbor? (Focus) Week 8
$720,000 in 464 theaters (-266); Cumulative: $20,064,000
The Fred Rogers film has passed the $20 million mark to become the biggest-grossing non-nature themed or concert documentary since 2012.
Leave No Trace (Bleecker Street) Week 5
$499,209 in 289 theaters (-72); Cumulative: $4,674,000
Debra Granik’s off-the-grid survival drama has outpaced most other specialized dramas this year, with a $6-million total likely. That would put it at the same level as Bleecker Street’s similarly themed “Captain Fantastic” last summer.
Don’t Worry He Won’t Get Far on Foot (Amazon) Week 3
$351,356 in 266 theaters (+204); Cumulative: $860,919
Gus Van Sant’s ensemble Portland drama centered on a substance abusing cartoonist is getting only modest interest despite stars Joaquin Phoenix and Jonah Hill and positive reviews. Its performance is about at half the level of Amazon’s earlier release “You Were Never Really Here,” also with Phoenix.
RBG (Magnolia) Week 13 120-13,260
$(est.) 110,000 in 79 theaters (-41); Cumulative: $(est.) 13,370,000
Nearly four months into its incredible run, this documentary on the venerable Supreme Court Justice continues to add to its impressive total.
The Cakemaker (Strand) Week 5 34-411
$(est.) 70,000 in 34 theaters (no change); Cumulative: $(est.) 481,000
Another strong hold with grosses only down slightly for this Israeli drama with a gay twist. This is one of the few specialized subtitled films this year to reach this gross level, with likely significantly higher grosses ahead. This is the niche distributor’s highest grosser since 2011.
Yellow Submarine (Abramorama) (reissue) – $38,011 in 40 theaters (single shows); Cumulative: $776,434
Whitney (Roadside Attractions) – $28,725 in 39 theaters; Cumulative: $2,909,000
Hearts Beat Loud (Gunpowder & Sky) – $28,480 in theaters; Cumulative: $2,324,000
Dark Money (PBS) – $24,170 in 10 theaters; Cumulative: $51,748
Gauguin: The Voyage to Tahiti (Cohen) – $21,149 in 11 theaters; Cumulative: $146,922
The King (The Orchard) – $13.500 in 35 theaters; Cumulative: $207,357
American Animals (The Orchard) – $10,083 in 20 theaters; Cumulative: $2,811,000
Source: IndieWire film
July 29, 2018
As MoviePass’ woes continue, so do those of its users. Customers of the movie-ticket app, who pay $10/month to see one film per day at participating theaters, were prevented from using it to see “Mission: Impossible – Fallout” this weekend, according to Deadline; the development came just a day after the company was forced to take out an emergency loan of $6.2 million in order to keep paying for customers’ tickets.
“As we continue to evolve the service, certain movies may not always be available in every theater on our platform,” CEO Mitch Lowe said in a statement on Friday. “This is no different than other in-home streaming options that often don’t carry the latest shows or movies that may be available on other services.”
The latest “Mission: Impossible” was hardly affected, however, as it opened to a franchise-best $61.5 million during its opening weekend. It also received an “A” CinemaScore, a first for the series starring Tom Cruise.
Customers were unable to use MoviePass at all on Thursday night, as the company simply couldn’t afford to pay for tickets.
We've determined this issue is not with our card processor partners and will be continuing to work on a fix throughout this evening and night. If you have not headed to the theater yet, we recommend waiting for a resolution or utilizing e-ticketing which is not impacted.
— MoviePass (@MoviePass) July 27, 2018
Source: IndieWire film
July 29, 2018
After using the social-media platform to defend James Gunn, Selma Blair has quit Twitter altogether in solidarity with the fired “Guardians of the Galaxy” director. Disney severed all ties with the filmmaker after offensive tweets from years past were dug up by alt-right activists, which hasn’t sat well with many of Gunn’s colleagues and friends. In a tweet that, along with her account, no longer exists, Blair wrote simply, “So long. You can find me on Instagram. #Istandwithjamesgunn.”
Blair previously said of the situation, “If people are punished despite changing, then what does that teach people about owning mistakes and evolving? This man is one of the good ones.” Dave Bautista, who plays Drax the Destroyer in the “Guardians” films, has similarly defended Gunn.
“I thank you for your talent, your decency and your evolution as a man,” Blair also wrote. “You propped me up when I was in a scary place, and guided me towards the decent and right thing to do. You have shown strength of character more than most anyone I know. You understood.”
A petition calling on Disney to re-hire Gunn was launched last week and has been signed more than 331,000 times as of this writing.
Source: IndieWire film
July 29, 2018
Learn a few speed ramping techniques so you can make your videos more dynamic.
Even if you don’t know what speed ramping is, you’ve definitely seen it in countless videos. All those moments when, I don’t know, a snowboarder approaches the top of a halfpipe at full speed and then all of a sudden, boom, time slows way down so you can see their body flipping and twirling and corkscrewing gracefully in midair. Yeah, that’s speed ramping, or time remapping, when you speed up and slow down a clip.
If you’re a new editor, you might be wondering how to create such an effect in post, and while it’s not incredibly difficult, there are a few things you should know before you give it a try. In this tutorial from Pond5, you’ll learn the basics of speed ramping in Adobe Premiere Pro so you can pull it off successfully in your next project.
While the tutorial provides plenty of information on how to create a speed ramp in post, there are several things you should keep in mind before you ever get to that final stage of production, namely how to shoot footage to which you’ll want to apply the effect.
July 28, 2018
This double exposure effect is not only awesome to look at but it’s also super easy to pull off.
If you’re looking to add a sweet effect to your editorial toolbox, you might want to give double exposure a try. Yeah, I know, double exposure is usually something you associate with photography, but you can definitely do the same thing with video—and if you liked the look with still images, you’re going to love the look when they’re moving. In this tutorial, Caleb Pike of DSLR Video Shooter shows you how to pull off a double exposure video without expensive equipment or special tools. Check it out below:
Okay, so the first thing you’re going to need, at least to follow along with this tutorial, is a white background to put your subject in front of. Pike shows you several ways you can do this if you don’t have access to an infinity white background and studio lights, including shooting in an open garage on a sunny day or shooting in front of a window, the idea of which is to blow out your shot so everything in the background is white and then adjusting your grade in post.