Motion Pictures

Vikram Singh Chadha asked:


Sahara-One Motion Pictures’ Mumbai Cutting… A City unfolds has been selected for the closing night gala of the prestigious IFFLA Festival to be held in Los Angeles this April.

Directed by 11 Indian directors who are known to weave magic on Indian celluloid, with music by 11 music directors the film unfolds various facets of this metrop that is known for absorbing newer cultures and merging them into its own. With Sudhir Mishra, Rahul Dholakia, Revati, Rituparno Ghosh, Kundan Shah, Anurag Kashyap, Shashanka Ghosh, Ruchi Narain, Jahanu Barua, Manish Jha, Ayush Raina, being the directors, the films star Soha Ali Khan, Jimmy Shergil, Sonali Kulkarni, Ranvir Sheorey, Vinay Pathak, Sushant Singh, Tara Sharma, Tejaswini Kolhapure, Raima Sen, Palash Sen, Shruti Seth, Rahul Dev, Deepak Dobriyal, Dipannita Sharma, Kavita Kaushik, Samrin, Sanjay Narvekar, Mahek Chel among others.

The music also lends diverse flavours from from Euphoria, Indian Ocean, Ali Azmat, Fuzon, Sanjeev Shrivastav, Jeet Ganguly, Amartya and Papon, with vocals by Shreya Goshal, Shafquat Amanat Ali Khan, Sunidhi Chauhan, Nachiketa, Papon and Ali Azmat.

“Sahara-One Motion Pictures looks at promoting Indian talent globally with cutting edge concepts in cinema. Mumbai Cutting is simple one step in that direction,” says Seemanto Roy, Head — Sahara One Media And Entertainment. “We are looking at soon creating more magic on celluloid individually with these talented award-winning directors. Mumbai Cutting, in association with White Clouds, is a move towards forging our relationships with them.”

With the interesting concept already making waves internationally even among the Indian diaspora, Mumbai Cutting looks forward to this showcasing at the IFFLA. Sahara-One Motion Pictures looks at flying down the 11 director-team that has made this movie happen at the fest.

The Indian Film Festival of Los Angeles (IFFLA) is a nonprofit organization devoted to promoting a greater appreciation of Indian cinema by showcasing films about India and the diverse perspectives of the Indian Diaspora. The festival will run from April 22-27, 2008 at ArcLight Hollywood, a state-of-the-art facility located in the heart of Los Angeles. Jury and Audience Choice Prizes will be awarded for Best Feature, Documentary and Short film.

Russell Neal asked:


Commercial grade, custom equipment is a must to protect artwork whose value continues to skyrocket annually. Truly safe and effective picture lighting requires a higher level of commercial grade technology than standard over the picture frame mounts can deliver. It also requires a means of shielding sensitive canvas, oils, and paints from ultraviolet light and infrared light that can degrade the quality of a painting-and eventually destroy it over time. Serious art collectors in both private and professional arenas already know this and tend to favor Art Projectors for picture lighting as the safest, most optimal source of illumination for valuable paintings and rare documents. Art projectors offer the advantages of UV and infrared shielding and do not mount to the frame. This is crucial to museum aesthetic, where classics look much better when there is nothing over the painting to distract the viewer’s eye. However, typical art projectors can be very bulky, hard to adjust, and cause severe damage to ceilings even when installed by professionals. It is also very hard to adjust lighting levels in some projectors, making it difficult to match lighting intensity precisely to color and form. Some projectors also produce a beam that is visible to people standing to the side of the room. This does not look good in a refined setting and therefore offers serious drawbacks that disqualify such a device as an ideal source of picture lighting.

Picture Lighting with Incandescent and Halogen Sources Can also be Hazardous to Fine Art. Infrared heat caused by incandescent and a halogen lighting in standard picture lighting fixtures is also a cause for concern. Heat caused by these lamps will dry out oils over time and lead to cracks in the paint. Museums still using incandescent picture frame lighting have to install special motion sensors to turn the lights on when visitors enter the room and switch them off again when they leave. This is too much hassle for the private collector, and it is also more expensive. A superior level of light is needed, along with a completely heatless source of illumination, is required to produce picture lighting that is optically clear and simultaneously perfectly safe for the artwork itself.

Lighting intensity itself also affects picture quality over time. Lumens per annum, a term that refers to the cumulative intensity of light over long periods of exposure can have deleterious effects on colors, canvases or any artwork. Setting precise levels of illumination intensity safeguards the preservation of pictures, paintings, and rare documents framed in museums. This is difficult to do with accent lighting equipment that offers only two or three settings and little, if any, room for custom adjustment to the piece.

Phantom Provides Multiple Solutions in Six Streamlined, Proprietary Art Projector Designs. To resolve all of these problems, Phantom Lighting took projector technology to a whole new level by introducing the Phantom Contour Projector. Our foremost consideration in this new design was better protection for priceless works of art. While most art projectors carry some form of UV shielding, we have developed fixtures and lenses that negate its power altogether. As artwork lighting experts we have accomplished this without diminishing the ability to fine tune the projector for optimal picture lighting angles and levels.

The name Phantom Contour itself refers to one of the most unique attributes of our art projectors-the ability to shape illumination to the exact dimensions of a picture. Phantom optical design offers the highest level of photometric sophistication currently possible. They can be fine tuned with such precision as to actually hide the beam of light itself regardless of viewing angle. This creates a “lighting from within” effect when the beam strikes the picture and frame. This light is further filtered through custom cut templates or pattern gobos that prevents it from “spilling” over the wall around a painting and thus eliminates resulting shadows behind the frame.

Unobtrusive Physicality and “Ceiling Friendly” Installation make the Contour Projector the Interior Designer’s Best Friend. These models mount in the ceiling with a minimum of cutting and are much smaller than typical art projectors. We even have one Contour projector series that is designed for remodel projects where cutting the ceiling is not an option.

Mark Warner asked:


This article will cover the key provisions of an agreement to distribute filmed entertainment, usually made between a producer or licensor (“Producer”) of a motion picture and a distributor (“Distributor”). These agreements are critical to the process of filmmaking; without them, films would not be viewed by the public.

1) Picture

This provision covers the specifications of the film to be delivered by the producer to the distributor. Will it be a color picture or black and white? What type of film will be used? (35 mm vs. 16 mm) How long or short must the film be? For feature films, it is typical for the distributor to require that the film be no shorter than 90 minutes and no longer than either 105 or 120 minutes. Producers with a bigger name, and hence more leverage, however, may be able to negotiate for more freedom when it comes to the acceptable length of the film. Lastly, the distributor will often require that the film be capable of receiving an MPAA rating of no more restrictive than an “R”, or “PG-13″, depending on the type and intended audience of the picture.

2) Territory

It is important for the parties to agree on what territory or territories the distribution agreement covers. Some distribution agreements are for worldwide rights to distribute the film; others cover just domestic or foreign rights. This provision can also cover whether or not the producer is obliged to deliver a subtitled version of the film so it can be shown in foreign markets.

3) Term

The parties must agree as to how long the distributor’s exclusive rights will last. This term is measured from the date of delivery. The distributor may also want to negotiate for a right to match any offer as to extending or renewal of the term.

4) Rights Granted

Here is where the agreement will lay out that whether or not the distributor is receiving the exclusive right under copyright and otherwise to exhibit, distribute, advertise, promote, publicize, market, sell, manufacture, license and otherwise exploit the picture in the territory during the term, in all forms of theatrical, free television, pay cable, subscription cable, and any other medium agreed upon by the parties. The scope of rights given to the distributor will vary from agreement to agreement. However, usually the right to advertise the film through commercials and billboards accompanies the right to distribute it.

5) Definition and Disposition of Gross Receipts

“Gross receipts” is a term used in the film industry to measure the success of a film. While there is a generally accepted definition of gross receipts, the agreement should nonetheless define the term. Usually gross receipts means “any and all gross sums actually received by the distributor, arising out of or in connection with the exercise of any of the rights herein contained.” Minimum guarantee payments, advances, and/or security deposits are usually included in gross receipts. By contrast, “net receipts” should be defined as well. Generally speaking, the term “net receipts” is defined as gross receipts minus all distribution expenses.

After providing these definitions, the agreement must spell out what percentage of the gross or net receipts the producer is entitled to and what percentage the distributor will keep. For instance, a common arrangement is for the producer to be entitled to 80% of the net receipts, and distributor entitled to 20%. This split is obviously negotiated by the parties.

These are the most important provisions of a film distribution agreement. Other provisions covering distribution expenses, credits, representations and warranties, and termination rights should also be covered. But it is most important for the producers and distributors to first agree on the territory, the term, the specification of the picture, the rights granted, and the disposition of gross or net receipts between the two parties.

click4everything asked:

Arjun Animated Indian Movie Official Trailer from UTV Motion Pictures

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Malcolm Blake asked:


In New York resides a dramatic critic, now on the staff of a great newspaper, who has his own ideas about movie acting. The idea in question is that there is no such thing as movie acting and the gentleman carries it out by refusing to allow the word “acting” to be printed in any of the notices and reviews in his newspaper. When he wishes to convey the thought that such and such a star acted in such and such a picture he says, “Miss So-and-So posed before the camera in the motion Picture.”

Now this critic is a good critic, as critics go, but he would be improved physically and mentally by a set of those monkey glands which the medicos are so successfully grafting upon various ossified Personalities. Anyone who thinks that there is no such thing as motion picture acting is probably still wondering whether the Germans will win the war. Motion picture acting is a highly developed art, with a technique quite as involved as that of the legitimate stage.

The fundamental principle to remember in undertaking screen acting is that the camera demands far greater realism on the part of the actor than the eyes of an audience. An actor in the spoken drama nearly always overplays or underplays his part. If he recited the same lines in the same tone with the same gestures in real life, he would appear to be just a little bit spiffy, as they say in English drinking circles. On the stage it is necessary to overdraw the character in order to convey a realistic impression to the audience; exact naturalism on the stage would appear as unreal as an unrouged face under a spotlight.

The camera, however, demands absolute realism. Actors must act as naturally and as leisurely as they would in their own homes. Their expressions must be no more pronounced than they would be in real life. Above all, they must be absolutely unconscious of the existence of the camera. Any deviation from this course leads to the most mortifying results on the screen.

The face, enlarged many times life size, becomes clearly that of an actor, rather than a real character. The assumed expression of hate or fear which would seem so natural on the stage is merely grotesque in the film. Unless the actor is really thinking the things he is trying to portray on the screen, the audience becomes instantly aware that something is wrong.

In the same way the camera picks up and accentuates every motion on the part of the actor. An unnecessary gesture is not noticed on the stage. On the screen, enlarged many times, it is instantly noted.

The two most important rules to follow, then, in motion picture acting are: act as you would under the same circumstances in real life, and eliminate all movement and gesture which does not bear on the scene. It is better not to move at all than to make a false move.

Beginners must adjust their walk to the camera. There is no rule for this, however, as every individual’s way of standing and walking is different. Only through repeated tests can the beginner discover and correct the defects which are sure to appear in his physical pose the first time he acts before a camera. Often in making a picture, the director will instruct his cast to “speed up” or “slow down” their scene. Sometimes, also, he will alter the tempo of the scene by slowing down or speeding up the rate at which the camera is being cranked. Beginners must follow such instructions to the letter, for the timing of a scene is a vitally important part of picture production and a duty which is entirely in the hands of the director.

The best way to learn the principles of motion picture acting is to watch the making of as many scenes as possible before attempting to act one. Most of the stars of today learned their art by watching the efforts of others before the camera. Only by constant observation in the studio and, more important, in real life, where the actions and reactions of real people can be noted, can an actor hope to become proficient.

IBBrent asked:


I imagine the others include poetry, painting. I know comics are considered the 9th art. Anyone else have insights?

matthijsvanderven asked:

Marten de Paepe playing ‘Motion Pictures’ by Neil Young for OnderInvloed.com

Filmed edited by Matthijs van der Ven
Audio guitar by Sebastiaan van Bijlevelt

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