Archive for November, 2008
What do you guys think of the silent film my group made for my Freshman Motion Pictures class link is below
vishaal_lalchand asked:
http://www.youtube.com/watch?v=P7ZfEhIXVXA check out our silent film and our other projects what do you think of them
http://www.youtube.com/watch?v=P7ZfEhIXVXA check out our silent film and our other projects what do you think of them
A Wedding Video or Wedding Pictures?
Juhlin Youlein asked:
Both a wedding video and wedding pictures have their own place within a wedding. There are similarities in the fact that they both document a wedding in their own respective way. But there are some fundamental differences you should know before you make a decision.
A wedding video is unique in that it captures moments in real time as it happens. The wedding day is a spectacular event to say the least and it is hard to capture emotions in still pictures. The video will record the wedding as it happens and it will capture more of the special moments that a still camera may miss. Smiles, laughs, body language, sweet words, and the divine commitments made in marriage will all be linked in a video. The spectacular moments of the wedding day will be captured in conjunction with one another. A laugh followed by a hug and a kiss is evident of the a bride and grooms love and affection for the other and is stronger sometimes than just a picture of a single kiss. Videos help reveal the big picture and the true personality of the bride and groom and family. Kind words are often recorded from family members, friends, groomsmen, and bridesmaids. Sentimental toasts can be recorded in their entirety that would other wise be lost in time. These memories in their entirety can be captured for life. A wedding video is something spouses can watch when times are hard down the road. It is a way for couples to reflect on their love for one another and how it began. It is never bad to remember love for one another.
A picture is a moment in time captured for ever. It is amazing that a mili-second in time can be so powerful. Everybody knows and agrees with the saying “a picture is worth a thousand words”. It is a moment stopped and recorded so we can look at it and remember an amazing moment. A wedding is so important to remember forever and pictures are the window to remember that special time. Pictures have the advantage over videos in the way that you can put pictures around the house or on the wall. They are a constant memory of the love couples have for each other. A look of affection or adoration can be carefully looked at and realized. Time often passes us by too quickly. Stopping to look around and soak in the beauty around us is often impossible. That’s why pictures are an ever growing medium to achieving what life doesn’t allow for sometimes, reflection.
Pictures can be uploaded to the web and easily shared with friends and family. Everybody can enjoy one very special day for thousands of days to come. They are more easily accessible than videos but they do lack the ability to record memories in real time. Sayings and motions will be lost forever without a video. Pictures are essential and more widely used, but videos will remember your wedding much clearer than any thing else.
The verdict is… well it’s up to you. My verdict is that no wedding should be without a video and pictures no matter what the situation. They will make a wedding last a life time. My advice is make sure you use a professional for both your wedding video and your wedding pictures.
Both a wedding video and wedding pictures have their own place within a wedding. There are similarities in the fact that they both document a wedding in their own respective way. But there are some fundamental differences you should know before you make a decision.
A wedding video is unique in that it captures moments in real time as it happens. The wedding day is a spectacular event to say the least and it is hard to capture emotions in still pictures. The video will record the wedding as it happens and it will capture more of the special moments that a still camera may miss. Smiles, laughs, body language, sweet words, and the divine commitments made in marriage will all be linked in a video. The spectacular moments of the wedding day will be captured in conjunction with one another. A laugh followed by a hug and a kiss is evident of the a bride and grooms love and affection for the other and is stronger sometimes than just a picture of a single kiss. Videos help reveal the big picture and the true personality of the bride and groom and family. Kind words are often recorded from family members, friends, groomsmen, and bridesmaids. Sentimental toasts can be recorded in their entirety that would other wise be lost in time. These memories in their entirety can be captured for life. A wedding video is something spouses can watch when times are hard down the road. It is a way for couples to reflect on their love for one another and how it began. It is never bad to remember love for one another.
A picture is a moment in time captured for ever. It is amazing that a mili-second in time can be so powerful. Everybody knows and agrees with the saying “a picture is worth a thousand words”. It is a moment stopped and recorded so we can look at it and remember an amazing moment. A wedding is so important to remember forever and pictures are the window to remember that special time. Pictures have the advantage over videos in the way that you can put pictures around the house or on the wall. They are a constant memory of the love couples have for each other. A look of affection or adoration can be carefully looked at and realized. Time often passes us by too quickly. Stopping to look around and soak in the beauty around us is often impossible. That’s why pictures are an ever growing medium to achieving what life doesn’t allow for sometimes, reflection.
Pictures can be uploaded to the web and easily shared with friends and family. Everybody can enjoy one very special day for thousands of days to come. They are more easily accessible than videos but they do lack the ability to record memories in real time. Sayings and motions will be lost forever without a video. Pictures are essential and more widely used, but videos will remember your wedding much clearer than any thing else.
The verdict is… well it’s up to you. My verdict is that no wedding should be without a video and pictures no matter what the situation. They will make a wedding last a life time. My advice is make sure you use a professional for both your wedding video and your wedding pictures.
What are the best settings on a DSLR camera to reduce blur in fast motion pictures?
Ash asked:
I’m looking to buy my first DSLR camera. I either want a Sony, Nikon, or Canon. I want one that will take fast motion pictures without much blur…because my sony cybershot obviously doesn’t do the trick. I’m looking for one $800 or cheaper, and one that has a live preview. Whats the best camera for me?
I’m looking to buy my first DSLR camera. I either want a Sony, Nikon, or Canon. I want one that will take fast motion pictures without much blur…because my sony cybershot obviously doesn’t do the trick. I’m looking for one $800 or cheaper, and one that has a live preview. Whats the best camera for me?
shwayze ft. cisco – corona lime live – outlaw motion pictures
outlawmlo7 asked:
shwayze ft. cisco – corona lime – shot by: outlaw motion pictures @ malibu inn live
If A Picture Is Worth A Thousand Words, Than An Animation Is Worth A Settlement!
Mike Goldstein asked:
Courtroom re-enactment though forensic animation can be a very effective tool in persuading a jury to decide in your client’s favor. Technology is enhancing civil and criminal litigation, mediations, arbitrations and case depositions in a rapid manner. One study by the National Center for State Courts has determined that 82 percent of trials using 3D modeling as demonstrative evidence have led to victory.
How jurors perceive a witness, speaks directly to their opinion of the witness’s character. One study by the ACTA Press stated, “A well designed animation can influence a jurors’ interpretation of the participant’s activities in terms of perceived aggression, curiosity, jealousy, fear, provocation, relationships, roles and responsibilities, and guilt and innocence.” Jurors will become more emotionally connected in the animation as motion, texture, and lighting are rendered in more sophisticated ways.
How Animation can be used:
The development of computer forensic animation prior to deposition will highlight where information and collaboration is required, helping focus questions while eliciting complete information. By displaying 3D modeling during question and answer sessions by asking, “Is this what happened?” Animation will make the facts clearer to the jury. Computer animation helps juries understand in tangible terms what might otherwise remain an abstract concept. Computer forensics and 3D modeling has been proven to be better than any other type of demonstrative evidence according to a United States District Court Judge.
“I have noticed repeatedly that when a document is displayed on the monitors, the jurors sit up and pay attention. Such attention is far greater than that given to a document or situation which they cannot see as it is being discussed by the attorney and the witness.”
“As long as technology is beneficial in helping jurors understand the facts and, more importantly, in expediting the trial, few judges will oppose it.”
United States District Judge Carl Rubin
Examples of use:
Imagine for a moment a lawyer asking a witness, “If the truck was traveling at 50 miles per hour, and hit the side of the building in this spot, what would happen to the truck?” Working with the right 3D animator, the incident can be re-enacted with the true physics of force, surface texture and speed applied to get an enhanced image of the circumstances.
Demonstrating the intricate details of an accident scene, whether portraying a medical procedure or forensic mechanism of injury, there are virtually no limitations to what can be visualized using computer animation coupled with scientific and statistical evidence.
• A vehicle traveling at X miles per hour vs. Y miles per hour
• If a truck had veered ten feet sooner
• If a vat of chemicals had been placed here vs. there
• If the train operator had really seen or heard the signal
• If the substance was indeed harmless
Recently their was a trial where the plaintiff charged an architect with improperly designing a bridge. The defendant hired a graphic animation designer who took the blueprints, created a sketch drawing and built the bridge with the computer. Then, with the assistance of an engineer, the animator found that the bridge was designed properly. In fact, there had been an accident concerning a car colliding with a support column, which was not reported to the authorities until after the suit began. The animator then re-created the truck accident to show the damage to the bridge and its lingering effects.
Why Use Forensic Animation:
3D computer animations and images remain imbedded in the mind of the viewer long after they are offered as demonstrative evidence. Accidents, models, science or medial scenes, etc. are recreated to scale, through the use of computer animation, from expert or police reports. These animations are both visually presented to the jury. Statistics have shown people in general are much more likely to retain visual information that auditory information such as witness testimony.
A cardinal rule of persuasion or debate is to always show, rather than tell someone what happened. By showing the jury your client’s perspective, while the opposing side tells their client’s perspective, the jury is much more likely to identify and believe the visual presentation, all things being equal. As the old adage goes: a picture is worth a thousand words, and I would submit if a picture is worth a thousand words, than an animation is worth a settlement!
Courtroom re-enactment though forensic animation can be a very effective tool in persuading a jury to decide in your client’s favor. Technology is enhancing civil and criminal litigation, mediations, arbitrations and case depositions in a rapid manner. One study by the National Center for State Courts has determined that 82 percent of trials using 3D modeling as demonstrative evidence have led to victory.
How jurors perceive a witness, speaks directly to their opinion of the witness’s character. One study by the ACTA Press stated, “A well designed animation can influence a jurors’ interpretation of the participant’s activities in terms of perceived aggression, curiosity, jealousy, fear, provocation, relationships, roles and responsibilities, and guilt and innocence.” Jurors will become more emotionally connected in the animation as motion, texture, and lighting are rendered in more sophisticated ways.
How Animation can be used:
The development of computer forensic animation prior to deposition will highlight where information and collaboration is required, helping focus questions while eliciting complete information. By displaying 3D modeling during question and answer sessions by asking, “Is this what happened?” Animation will make the facts clearer to the jury. Computer animation helps juries understand in tangible terms what might otherwise remain an abstract concept. Computer forensics and 3D modeling has been proven to be better than any other type of demonstrative evidence according to a United States District Court Judge.
“I have noticed repeatedly that when a document is displayed on the monitors, the jurors sit up and pay attention. Such attention is far greater than that given to a document or situation which they cannot see as it is being discussed by the attorney and the witness.”
“As long as technology is beneficial in helping jurors understand the facts and, more importantly, in expediting the trial, few judges will oppose it.”
United States District Judge Carl Rubin
Examples of use:
Imagine for a moment a lawyer asking a witness, “If the truck was traveling at 50 miles per hour, and hit the side of the building in this spot, what would happen to the truck?” Working with the right 3D animator, the incident can be re-enacted with the true physics of force, surface texture and speed applied to get an enhanced image of the circumstances.
Demonstrating the intricate details of an accident scene, whether portraying a medical procedure or forensic mechanism of injury, there are virtually no limitations to what can be visualized using computer animation coupled with scientific and statistical evidence.
• A vehicle traveling at X miles per hour vs. Y miles per hour
• If a truck had veered ten feet sooner
• If a vat of chemicals had been placed here vs. there
• If the train operator had really seen or heard the signal
• If the substance was indeed harmless
Recently their was a trial where the plaintiff charged an architect with improperly designing a bridge. The defendant hired a graphic animation designer who took the blueprints, created a sketch drawing and built the bridge with the computer. Then, with the assistance of an engineer, the animator found that the bridge was designed properly. In fact, there had been an accident concerning a car colliding with a support column, which was not reported to the authorities until after the suit began. The animator then re-created the truck accident to show the damage to the bridge and its lingering effects.
Why Use Forensic Animation:
3D computer animations and images remain imbedded in the mind of the viewer long after they are offered as demonstrative evidence. Accidents, models, science or medial scenes, etc. are recreated to scale, through the use of computer animation, from expert or police reports. These animations are both visually presented to the jury. Statistics have shown people in general are much more likely to retain visual information that auditory information such as witness testimony.
A cardinal rule of persuasion or debate is to always show, rather than tell someone what happened. By showing the jury your client’s perspective, while the opposing side tells their client’s perspective, the jury is much more likely to identify and believe the visual presentation, all things being equal. As the old adage goes: a picture is worth a thousand words, and I would submit if a picture is worth a thousand words, than an animation is worth a settlement!
Getting Into the Movies – Movie Etiquette
Malcolm Blake asked:
This article does not deal so much with how to act in a picture as how to act in a studio. Motion picture people live, more or less, in a world of their own. It is a world which may seem a bit topsy turvy to the outsider, with its own peculiar customs, and a greater freedom from restraint than is customary in the conventional world outside. Examined a bit closer, these outlandish ideas appear to be the very same ones which are always associated with artists a bohemian spirit which is the same whether in Hollywood or the Latin Quarter of Paris.
If the newcomer to the studio wishes to establish himself as a bona fide member of the movie world he must always remember that no matter how cynical they may seem, no matter how pessimistically they may talk, these people, in the bottom of their hearts, consider a photoplay a form of art and themselves as artists.
The actor or director or author who does really good work, who has something new to offer, or who at least is sincere in his desire to do something big and fine in the motion pictures, will always be tolerated no matter how bizarre his character in other respects. In short, people are ranked according to their artistic understanding rather than according to their ancestry, their bank account or their morals.
Most of the leaders of the motion picture world have risen from poverty and obscurity, a fact which accounts for the democracy which prevails in the studio. There are a few rules which beginners would do well to follow. Here they are :
1. Be modest. Because you don’t understand why something is done, don’t believe it is all nonsense. And remember that you have ever so much to learn
about the business.
2. Don’t criticize.
3. Try your best to please everyone, particularly the director, whose shoulders are carrying the responsibility for the whole production and whose manner may be a bit gruff as it usually is when a man is laboring under a heavy load.
Don’t be ashamed of being in the movies. If you think movies are a low-brow form of making a living your associates will surely become aware of your state of mind and you will be quietly frozen out.
In the old days of the movies social status in the studio was determined by a curious system, based upon the pay envelope. Actors for the movie world is composed for the greater part of actors are classed as stars, the “leads,” the “parts,” the “bits,” the
“extras” and “mobs.”
The star is, of course, the highly paid actor or actress who is the feature of the production; the “lead” is the leading man or woman who plays opposite the star. The “parts” include all those characters which appear on the program the minor characters of the play. The “bits” are those who Nare called on to perform a bit of individual action, such as the butler who opens the door, or the chauffeur who drives the car, but who have no real part in the play. The extras are simply members of the crowd, as the ballroom throng, while a mob is just a mass of people, like an army or the audience at a football game.
The large producing companies frequently give elaborate dinners, seating three or four hundred people, and under this ridiculous old system the star sat at the head of the table, with the “leads” near at hand. Then came the “parts,” then the “bits,” and finally, away down at the foot of the table, were the “extras.” In the same way directors, assistant directors, studio managers, and so forth, were graded down according
to how much money they drew from the cashier every week.
Today all this snobbery has passed away. The movie world has its smart set and its slums, as in any other world, but the criterion is artistic worth, not money. We know of one rather unpleasant personality who has risen to stardom, but is completely ignored by the lesser lights of the profession despite this star’s attempts to break into “film society.”
This article does not deal so much with how to act in a picture as how to act in a studio. Motion picture people live, more or less, in a world of their own. It is a world which may seem a bit topsy turvy to the outsider, with its own peculiar customs, and a greater freedom from restraint than is customary in the conventional world outside. Examined a bit closer, these outlandish ideas appear to be the very same ones which are always associated with artists a bohemian spirit which is the same whether in Hollywood or the Latin Quarter of Paris.
If the newcomer to the studio wishes to establish himself as a bona fide member of the movie world he must always remember that no matter how cynical they may seem, no matter how pessimistically they may talk, these people, in the bottom of their hearts, consider a photoplay a form of art and themselves as artists.
The actor or director or author who does really good work, who has something new to offer, or who at least is sincere in his desire to do something big and fine in the motion pictures, will always be tolerated no matter how bizarre his character in other respects. In short, people are ranked according to their artistic understanding rather than according to their ancestry, their bank account or their morals.
Most of the leaders of the motion picture world have risen from poverty and obscurity, a fact which accounts for the democracy which prevails in the studio. There are a few rules which beginners would do well to follow. Here they are :
1. Be modest. Because you don’t understand why something is done, don’t believe it is all nonsense. And remember that you have ever so much to learn
about the business.
2. Don’t criticize.
3. Try your best to please everyone, particularly the director, whose shoulders are carrying the responsibility for the whole production and whose manner may be a bit gruff as it usually is when a man is laboring under a heavy load.
Don’t be ashamed of being in the movies. If you think movies are a low-brow form of making a living your associates will surely become aware of your state of mind and you will be quietly frozen out.
In the old days of the movies social status in the studio was determined by a curious system, based upon the pay envelope. Actors for the movie world is composed for the greater part of actors are classed as stars, the “leads,” the “parts,” the “bits,” the
“extras” and “mobs.”
The star is, of course, the highly paid actor or actress who is the feature of the production; the “lead” is the leading man or woman who plays opposite the star. The “parts” include all those characters which appear on the program the minor characters of the play. The “bits” are those who Nare called on to perform a bit of individual action, such as the butler who opens the door, or the chauffeur who drives the car, but who have no real part in the play. The extras are simply members of the crowd, as the ballroom throng, while a mob is just a mass of people, like an army or the audience at a football game.
The large producing companies frequently give elaborate dinners, seating three or four hundred people, and under this ridiculous old system the star sat at the head of the table, with the “leads” near at hand. Then came the “parts,” then the “bits,” and finally, away down at the foot of the table, were the “extras.” In the same way directors, assistant directors, studio managers, and so forth, were graded down according
to how much money they drew from the cashier every week.
Today all this snobbery has passed away. The movie world has its smart set and its slums, as in any other world, but the criterion is artistic worth, not money. We know of one rather unpleasant personality who has risen to stardom, but is completely ignored by the lesser lights of the profession despite this star’s attempts to break into “film society.”
The Secrets of Movie Making
Jimmy Cox asked:
The use of pictorial continuity, the proper development and connection of motion-picture sequences to create a smoothly joined, coherent motion-picture story, is the secret of good moviemaking. It is the easiest, simplest way, because it is the correct way. But – and this is a thankful thing – even the most expensive, gadget-studded movie camera hasn’t got pictorial continuity built into it, to function automatically for the cameraman whenever he shoots a story.
Continuity is what transforms a strip of exposed film into a motion-picture: NO gadget can do that. It calls for a little thought in advance, for a good deal of movement to and fro for different angles and shots, for care – deliberation-planning.
The question therefore arises, especially for the non-professional who does his shooting during a few precious hours of leisure: Is it worth it?
Wouldn’t it be easier just to load one’s camera, check focus and exposure, make sure composition and the expression of the subject are good – and just shoot? Just as one does with still pictures?
Just like still pictures! The ghost of still-picture psychology hovers around many beginning motion-picture cameramen – and logically, for most of us shot stills years before we took up the movie camera. So let’s get the straight facts of the matter.
Operating a motion-picture camera with still-camera technique will get you pictures all right; if you are a competent still cameraman those pictures no doubt will be “good” in the sense of being well exposed, nice and sharp, probably well composed, even lively.
But without pictorial continuity, they will not be motion pictures. They will be animated still pictures. Perhaps you will be content to have them so. But we think it an awful shame if you ask of your motion-picture camera only what any decent still camera will give you – a good, sharp, pleasing likeness.
You will also be unfair to the ability of the motion-picture camera to do more than just render a likeness; you will be ignoring its power to tell a living story.
You will also he unfair to yourself, because the apparent trouble of breaking down action into sequences, and sequences into separate shots, the “bother” of observing pictorial continuity, are really no problems at all, but add immeasurably to the sheer fun of movie-making. Once you try it, the bother of getting buildup shots, of establishing tempo, and so on, will warm you up, exhilarate you with an appeal to your imagination and your creative instinct – an instinct that is latent in every camera zealot.
Look at the question from the viewpoint of your prospective audience. Every moviegoer who has seen good and bad movies is sensitive to continuity. He may not be consciously aware of it – he may never even have heard of the term – but it has had its influence on him just the same.
He takes it for granted when he sees a good motion picture: he knows the picture is moving smoothly from scene to scene, sequence to sequence, climax to climax.
If the picture-, however, moves jerkily, without coherence or flow – if continuity is lacking – the moviegoer feels its absence even though he cannot say in so many words what is lacking.
Your audience, your friends, and you will miss it as much whether your picture is for public showing or for persona’ pleasure.
The fault is the same – and the remedy is the same. You do not use watercolor technique when painting a canvas in oils: it is as illogical to handle a motion- picture camera as though it were a still camera. You cannot have a true motion picture, a good motion picture, without pictorial continuity. That is the answer to the question. It is worth it!
The use of pictorial continuity, the proper development and connection of motion-picture sequences to create a smoothly joined, coherent motion-picture story, is the secret of good moviemaking. It is the easiest, simplest way, because it is the correct way. But – and this is a thankful thing – even the most expensive, gadget-studded movie camera hasn’t got pictorial continuity built into it, to function automatically for the cameraman whenever he shoots a story.
Continuity is what transforms a strip of exposed film into a motion-picture: NO gadget can do that. It calls for a little thought in advance, for a good deal of movement to and fro for different angles and shots, for care – deliberation-planning.
The question therefore arises, especially for the non-professional who does his shooting during a few precious hours of leisure: Is it worth it?
Wouldn’t it be easier just to load one’s camera, check focus and exposure, make sure composition and the expression of the subject are good – and just shoot? Just as one does with still pictures?
Just like still pictures! The ghost of still-picture psychology hovers around many beginning motion-picture cameramen – and logically, for most of us shot stills years before we took up the movie camera. So let’s get the straight facts of the matter.
Operating a motion-picture camera with still-camera technique will get you pictures all right; if you are a competent still cameraman those pictures no doubt will be “good” in the sense of being well exposed, nice and sharp, probably well composed, even lively.
But without pictorial continuity, they will not be motion pictures. They will be animated still pictures. Perhaps you will be content to have them so. But we think it an awful shame if you ask of your motion-picture camera only what any decent still camera will give you – a good, sharp, pleasing likeness.
You will also be unfair to the ability of the motion-picture camera to do more than just render a likeness; you will be ignoring its power to tell a living story.
You will also he unfair to yourself, because the apparent trouble of breaking down action into sequences, and sequences into separate shots, the “bother” of observing pictorial continuity, are really no problems at all, but add immeasurably to the sheer fun of movie-making. Once you try it, the bother of getting buildup shots, of establishing tempo, and so on, will warm you up, exhilarate you with an appeal to your imagination and your creative instinct – an instinct that is latent in every camera zealot.
Look at the question from the viewpoint of your prospective audience. Every moviegoer who has seen good and bad movies is sensitive to continuity. He may not be consciously aware of it – he may never even have heard of the term – but it has had its influence on him just the same.
He takes it for granted when he sees a good motion picture: he knows the picture is moving smoothly from scene to scene, sequence to sequence, climax to climax.
If the picture-, however, moves jerkily, without coherence or flow – if continuity is lacking – the moviegoer feels its absence even though he cannot say in so many words what is lacking.
Your audience, your friends, and you will miss it as much whether your picture is for public showing or for persona’ pleasure.
The fault is the same – and the remedy is the same. You do not use watercolor technique when painting a canvas in oils: it is as illogical to handle a motion- picture camera as though it were a still camera. You cannot have a true motion picture, a good motion picture, without pictorial continuity. That is the answer to the question. It is worth it!
(Big Sky Motion Pictures) “What Love Is”
BigSkyMotionP asked:
http://www.bigskymotionpictures.com
(Big Sky Motion Pictures)(Big Sky Motion (Big+Sky+Motion+Pictures)Pictures)(Big Sky Motion Pictures)(Big Sky Motion Pictures)Cuba Gooding Jr. on the Tonight Show with Jay Lenomovies pictures
big movies Alan Ritchson, and Richard Portnow., Andrew Caldwell, Aviva, “pick-up” shots in Los Angeles, Big sky Motion Pictures, Big_Sky_Motion_Pictures, Dat Phan, Downtown Julie Brown, Erik Estrada, Greg Felllows, Jamie Kennedy, Jim Nieb, Joe Pantoliano, John Goodman, Kenny Baumann, Lee Majors, Lisa Jay, Mars Callahan, Martin Spanjers, Nick Heyman, Preston Jones, Raviv Ullman, Robert Davi, Sophie Monk, Spring Break 83, Written by Mars Callahan Andrew Daly, Anne Heche, Big sky Motion Pictures, Cuba Gooding Jr., Gina Gershon, Mars Callahan, Matthew Lillard, Sean Astin, Shiri Appleby, T.C. Carson, Tamala Jones, Victoria Pratt, what love http://www.youtube.com http://www.youtube.com/watch?v=QE61Bz7IHKg
http://www.bigskymotionpictures.com
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http://www.worstpreviews.com/names.php?name=big%20sky%20motion%20picturestype=2
http://blog.nola.com/business_of_film/2007/07/mars_callahan_to_bring_big_sky.html
http://www.blogcatalog.com/blogs/big-sky-motion-pictures-big-sky-motion-pictures-profile.html
http://www.hoobly.com/0/0/589064.html
http://www.commonsensemedia.org/reviews/Movies/Big-Sky-Motion-Pictures/
http://www.imdb.com/company/co0139928/
www.bigskymotionpictures.com/website/index_home.html
INDIANS FANS: How do you feel about Major league motion pictures?
The man asked:
Don’t you feel your city and home team were ridiculed on them?
Don’t you feel your city and home team were ridiculed on them?
Neil Young Honeyslide Intro/Motion Pictures
1after909 asked:
A bit of Neil history recorded 05-16-74 Bottom Line NYC from the Bootleg Citizen Kane Jr. Blues