July 07, 2015
ATTENTION ARTISTS
Copyright law is about to change...
For more than a year Congress has been holding hearings for the drafting of a brand new US Copyright Act. At its heart is the return of Orphan Works.
What does this mean for artists? it means it will make it easier for infringers to steal artists works and harder for people who are making or trying to make a living out of art more difficult. This will effect every artist and all the artwork they have created, are creating, and will be created. Corporates, Big businesses, and publishers want this to pass to make money out off artists works without paying us artists for past, current, and future artwork.
The Canadian Government has already expressed interest in following suit and adapting their laws to match this proposal if this bill passes.
- Basic Facts About The Law Being Proposed -
“The Next Great Copyright Act” would replace all existing copyright law.
- It would void our Constitutional right to the exclusive control of our work.
-It would “privilege” the public’s right to use our work.
- It would “pressure” you to register your work with commercial registries. - It would “orphan” unregistered work.
- It would make orphaned work available for commercial infringement by “good faith” infringers. - It would allow others to alter your work and copyright these “derivative works” in their own names.
- It would affect all visual art: drawings, paintings, sketches, photos, etc.; past, present and future; published and unpublished; domestic and foreign.
Ways to stop this or preventing these changes from happening....
Share, reblog this post, spread it for other artists to take notice and action. - You can submit a letter on how this law can be an issue for you as an artist in the U.S.
> > > DEADLINE IS THIS THURSDAY: JULY 23, 2015 < < <
Non-U.S. artists can email their letters to the attention of:
Catherine Rowland
Senior Advisor to the Register of Copyrights
U.S. Copyright Office
crowland@loc.gov
July 06, 2015
Roger Rabbit
Let’s go through everything that’s going on here.
1. With Roger’s voice actor standing off camera, Bob Hoskins acts into empty air and frantically sawing at his handcuff, continually looking up and down at different visual marks of various depths. Look at the slow pan up of his eyes in gif 4, and then the quick shift to his side. Think about how, on set, he was looking at nothing.
2. Starting in gif 2, The box must be made to stop shaking, either by concealed crew member, mechanism, or Hoskins own dextrousness, as he is doing all of the things mentioned in point 1.
3. In all gifs, Roger’s handcuff has to be made to move appropriately through a hidden mechanism. (If you watch the 4th gif closely you can see the split second where it is replaced by an animated facsimile of the actual handcuff, but just for barely a second.)
4. The crew voluntarily (we know this because it is now a common internal phrase at Disney for putting in extra work for small but significant reward) decided to make Roger bump the lamp and give the entire scene a constantly moving light source that had to be matched between the on set footage and Roger. This was for two reasons, A) Robert Zemeckis thought it would be funnier, and B) one of the key techniques the crew employed to make the audience instinctually accept that Toons coexisted with the live action environment was constant interaction with it. This is why, other than comedy, Roger is so dang clumsy. Instead of isolating Toons from real objects to make it easier for themselves, the production went out of its way to make Toons interact more with the live action set than even real actors necessarily would, in order to subtly, constantly remind the audience that they have real palpable presence. You can watch the whole scene here, just to see how few shots there are of Roger where he doesn’t interact with a real object.
The crew and animators did all of this with hand drawn cell animation without computerized special effects. 1988, we were still five years out from Jurassic Park, the first movie to make the leap from fully physical creature effects to seamlessly integrating realistic computer generated images with live action footage. Roger’s shadows weren’t done with CGI. Hoskin’s sightlines were not digitally altered. Wires controlling the handcuff were not removed in post.
Who fucking Framed Roger fucking Rabbit, folks. The greatest trick is when people don’t realize you’re tricking them at all.
July 05, 2015
July 03, 2015
Film Fanatic Friday - Neo Noir: The Modern Day Film Noir
Shane Black (Kiss Kiss Bang Bang) and Brian Helgeland (LA Confidential) discuss the modern day Neo Noir - a genre-bending response to the Film Noirs of the 1940s and 50s – and dissect the basic styles, impulses, themes, and tones that embrace this form of storytelling.
Some of the Best Neo-Noir films out thee:
Some of the Best Neo-Noir films out thee:
July 02, 2015
July 01, 2015
June 30, 2015
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