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vojjdless · 1 year
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amusement/light in the dark
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ahmerinam · 1 year
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Hummingbird by JedrzejP EOS-3, Carl Zeiss Jena Sonar 180mm on Vision 3 500T film pushed 1 stop. https://flic.kr/p/2jzmw7k
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xerce-all · 1 year
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2022 #artvsartist #artvsartist2022
IG: Xerce_
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noeliaamieva · 1 year
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Iceland Redo Part III
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born-in-hell · 4 months
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im never going to shut up abt how metal is the best musical genre ever bc it allows for so much experimenting and it can express all sorts of thoughts and feelings so much better than any other genre imo
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biatlegal · 1 year
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Demystifying Copyright Laws for Cinematographic Films in India: A Comprehensive Guide for Filmmakers and Artists
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In India, copyright laws are governed by the Copyright Act of 1957, which has been amended several times to keep pace with changes in technology and international treaties. The Act provides for the protection of literary, artistic, musical, and cinematographic works, among others. In this blog, we will focus on copyright for cinematographic films in India.
What is a cinematographic film?
According to the Copyright Act, a cinematographic film is any work of visual recording on any medium produced by any process, including the recording of a moving image or of a series of visuals, either sound-accompanied or not, that also incorporates a sound recording. In simpler terms, it is a movie or any audio-visual work that is recorded on film, tape, or digital medium.
Who owns the copyright in a cinematographic film?
The Copyright Act provides that the owner of the copyright in a cinematographic film is the producer of the film. The producer is the person who takes the initiative and responsibility for making the film. In some cases, the producer may be a group of people or a company.
Benefits of Copyright Registration for Cinematographic films in India 
Copyright protection for cinematographic films in India provides several benefits, both for the creators and the industry as a whole. Here are some of the benefits:
Protection of creative expression: Copyright protection ensures that the creators of cinematographic films have exclusive rights over their work. This protects their creative expression from being used or copied without their permission.
Encourages creativity and innovation: Copyright protection encourages creativity and innovation in the Indian film industry. Filmmakers are motivated to invest in new ideas, technologies, and techniques to make their films unique and original.
Economic benefits: Copyright protection creates economic benefits for filmmakers, producers, and distributors. It allows them to license their films, sell distribution rights, and generate revenue from merchandising and other forms of licensing.
Safeguard against piracy: Copyright protection provides a legal framework to fight against the piracy of films. Piracy is a significant problem in India, and copyright laws help to deter individuals from stealing and distributing films illegally.
Cultural preservation: Copyright protection also plays a crucial role in preserving India's rich cultural heritage by protecting the rights of filmmakers who document and showcase India's diverse cultures and traditions.
copyright protection for cinematographic films in India provides several benefits, including protection of creative expression, encouragement of creativity and innovation, economic benefits, safeguarding against piracy, and cultural preservation.
Requirements for Copyright Filing for Cinematographic Film in India
In India, cinematographic films are protected by the Copyright Act, of 1957. To obtain copyright protection for a cinematographic film, the following requirements must be met:
Originality: The film must be an original work, which means that it must have been created independently by the author and must not be a copy of an existing work.
Fixation: The film must be fixed in a tangible medium of expression, such as a film reel or a digital storage device. This means that the film must be recorded in a material form that can be reproduced, such as a DVD, Blu-ray disc, or digital file.
Authorship: The person who creates the film, or who has the film created under his/her direction, is the author of the film and holds the copyright in the film. In the case of a joint work, where more than one person has contributed to the creation of the film, the copyright is jointly owned.
Registration: Although registration of copyright is not mandatory in India, it is advisable to register the copyright to establish a public record of ownership and to facilitate legal proceedings in case of infringement. The copyright in a cinematographic film can be registered with the Copyright Office by submitting an application along with the prescribed fee.
Duration of Copyright: The copyright in a cinematographic film subsists for 60 years from the year of its publication or, if unpublished, from the year of its creation.
It is important to note that copyright protection does not extend to the ideas or concepts portrayed in the film, but only to the expression of those ideas.
What rights does the producer have?
As the owner of the copyright in a cinematographic film, the producer has several exclusive rights, including the right to:
Make copies of the film
Sell or distribute copies of the film
Perform the film in public
Communicate the film to the public through any medium
Make adaptations or translations of the film
These rights are subject to certain limitations and exceptions, such as the doctrine of fair use, which allows for the use of copyrighted material for certain purposes, such as criticism, commentary, news reporting, teaching, scholarship, or research.
How long does the copyright in a cinematographic film last?
The duration of copyright protection for a cinematographic film in India is 60 years from the year of publication. If the film is not published, the copyright protection lasts for 60 years from the year of its creation.
Process of Copyright Filing  for a cinematographic film in India
The process of filing a copyright for a cinematographic film in India can be broken down into the following steps:
Application: The first step is to file an application for copyright registration of the cinematographic film with the Copyright Office of India. You have the option of filing the application offline or online.
Documents: The application should be accompanied by the following documents:
A copy of the cinematographic film
A statement of particulars, which includes the title of the film, the name of the producer, the year of first publication, the language, and other relevant details.
No Objection Certificate (NOC) from the author of the work, if applicable.
Payment of Fees: The prescribed fee for copyright registration of a cinematographic film is INR 5,000. Demand draughts or online payments are accepted for the charge.
Examination: Once the application is submitted, it is examined by the Copyright Office of India. If there are any discrepancies, the applicant is notified, and a chance is given to rectify them.
Issuance of Certificate: If the application is found to be in order, the Copyright Office of India issues a copyright registration certificate for the cinematographic film. The certificate is valid for a period of 60 years from the year of first publication.
The fact that copyright registration is not required in India should be noted. However, it is advisable to register a cinematographic film for copyright as it provides legal protection and enables the copyright owner to take legal action against any infringement of their rights.
Conclusion
Copyright protection is crucial for the creators and owners of cinematographic films in India. The Copyright Act provides for the protection of their exclusive rights, which allows them to monetize their work and prevent others from copying or exploiting it without permission. It is important for filmmakers and producers to understand the basics of copyright law to protect their interests and ensure that their creative works are safeguarded.
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fuckyeahgoodomens · 18 days
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Oooh! A great Gavin Finney (Good Omens Director of Photography) interview with Helen Parkinson for the British Cinematographer! :)
HEAVEN SENT
Gifted a vast creative landscape from two of fantasy’s foremost authors to play with, Gavin Finney BSC reveals how he crafted the otherworldly visuals for Good Omens 2.  
It started with a letter from beyond the grave. Following fantasy maestro Sir Terry Pratchett’s untimely death in 2015, Neil Gaiman decided he wouldn’t adapt their co-authored 1990 novel, Good Omens, without his collaborator. That was, until he was presented with a posthumous missive from Pratchett asking him to do just that.  
For Gaiman, it was a request that proved impossible to decline: he brought Good Omens season one to the screen in 2019, a careful homage to its source material. His writing, complemented by some inspired casting – David Tennant plays the irrepressible demon Crowley, alongside Michael Sheen as angel-slash-bookseller Aziraphale – and award-nominated visuals from Gavin Finney BSC, proved a potent combination for Prime Video viewers.  
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Aziraphale’s bookshop was a set design triumph.
Season two departs from the faithful literary adaptation of its predecessor, instead imagining what comes next for Crowley and Aziraphale. Its storyline is built off a conversation that Pratchett and Gaiman shared during a jetlagged stay in Seattle for the 1989 World Fantasy Convention. Gaiman remembers: “The idea was always that we would tell the story that Terry and I came up with in 1989 in Seattle, but that we would do that in our own time and in our own way. So, once Good Omens (S1) was done, all I knew was that I really, really wanted to tell the rest of the story.” 
Telling that story visually may sound daunting, but cinematographer Finney is no stranger to the wonderfully idiosyncratic world of Pratchett and co. As well as lensing Good Omens’ first outing, he’s also shot three other Pratchett stories – TV mini series  Hogfather  (2006), and TV mini-series The Colour of Magic (2008) and Going Postal (2010). 
He relishes how the authors provide a vast creative landscape for him to riff off. “The great thing about Pratchett and Gaiman is that there’s no limit to what you can do creatively – everything is up for grabs,” he muses. “When we did the first Pratchett films and the first Good Omens, you couldn’t start by saying, ‘Okay, what should this look like?’, because nothing looks like Pratchett’s world. So, you’re starting from scratch, with no references, and that starting point can be anything you want it to be.”  
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Season two saw the introduction of inside-outside sets for key locations including Aziraphale’s bookshop. 
From start to finish 
The sole DP on the six-episode season, Finney was pleased to team up again with returning director Douglas Mackinnon for the “immensely complicated” shoot, and the pair began eight weeks of prep in summer 2021. A big change was the production shifting the main soho set from Bovington airfield, near London, up to Edinburgh’s Pyramids Studio. Much of the action in Good Omens takes place on the Soho street that’s home to Aziraphale’s bookshop, which was built as an exterior set on the former airfield for season one. Season two, however, saw the introduction of inside-outside sets for key locations including the bookshop, record store and pub, to minimise reliance on green screen.  
Finney brought over many elements of his season one lensing, especially Mackinnon’s emphasis on keeping the camera moving, which involved lots of prep and testing. “We had a full-time Scorpio 45’ for the whole shoot (run by key grip Tim Critchell and his team), two Steadicam operators (A camera – Ed Clark and B camera Martin Newstead) all the way through, and in any one day we’d often go from Steadicam, to crane, to dolly and back again,” he says. “The camera is moving all the time, but it’s always driven by the story.” 
One key difference for season two, however, was the move to large-format visuals. Finney tested three large-format cameras and the winner was the Alexa LF (assisted by the Mini LF where conditions required), thanks to its look and flexibility.  
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The minisodes were shot on Cooke anamorphics, giving Finney the ideal balance of anamorphic-style glares and characteristics without too much veiling flare.
A more complex decision was finding the right lenses for the job. “You hear about all these whizzy new lenses that are re-barrelled ancient Russian glass, but I needed at least two full sets for the main unit, then another set for the second unit, then maybe another set again for the VFX unit,” Finney explains. “If you only have one set of this exotic glass, it’s no good for the show.” 
He tested a vast array of lenses before settling on Zeiss Supremes, supplied by rental house Media Dog. These ticked all the boxes for the project: “They had a really nice look – they’re a modern design but not over sharp, which can look a bit electronic and a bit much, especially with faces. When you’re dealing with a lot of wigs and prosthetics, we didn’t want to go that sharp. The Supremes had a very nice colour palette and nice roll-off. They’re also much smaller than a lot of large-format glass, so that made it easy for Steadicam and remote cranes. They also provided additional metadata, which was very useful for the VFX department (VFX services were provided by Milk VFX).” 
The Supremes were paired with a selection of filters to characterise the show’s varied locations and characters. For example, Tiffen Bronze Glimmerglass were paired with bookshop scenes; Black Pro-Mist was used for Hell; and Black Diffusion FX for Crowley’s present-day storyline.  
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Finney worked closely with the show’s DIT, Donald MacSween, and colourist, Gareth Spensley, to develop the look for the minisode.
Maximising minisodes 
Episodes two, three and four of season two each contain a ‘minisode’ – an extended flashback set in Biblical times, 1820s Edinburgh and wartime London respectively. “Douglas wanted the minisodes to have very strong identities and look as different from the present day as possible, so we’d instantly know we were in a minisode and not the present day,” Finney explains.  
One way to shape their distinctive look was through using Cooke anamorphic lenses. As Finney notes: “The Cookes had the right balance of controllable, anamorphic-style flares and characteristics without having so much veiling flare that they would be hard to use on green screens. They just struck the right balance of aesthetics, VFX requirements and availability.” The show adopted the anamorphic aspect ratio (2:39.1), an unusual move for a comedy, but one which offered them more interesting framing opportunities. 
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Good Omens 2 was shot on the Alexa LF, paired with Zeiss Supremes for the present-day scenes.
The minisodes were also given various levels of film grain to set them apart from the present-day scenes. Finney first experimented with this with the show’s DIT Donald MacSween using the DaVinci Resolve plugin FilmConvert. Taking that as a starting point, the show’s colourist, Company 3’s Gareth Spensley, then crafted his own film emulation inspired by two-strip Technicolor. “There was a lot of testing in the grade to find the look for these minisodes, with different amounts of grain and different types of either Technicolor three-strip or two-strip,” Finney recalls. “Then we’d add grain and film weave on that, then on top we added film flares. In the Biblical scenes we added more dust and motes in the air.”  
Establishing the show’s lighting was a key part of Finney’s testing process, working closely with gaffer Scott Napier and drawing upon PKE Lighting’s inventory. Good Omens’ new Scottish location posed an initial challenge: as the studio was in an old warehouse rather than being purpose-built for filming, its ceilings weren’t as high as one would normally expect. This meant Finney and Napier had to work out a low-profile way of putting in a lot of fixtures. 
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Inside Crowley’s treasured Bentley.
Their first task was to test various textiles, LED wash lights and different weight loadings, to establish what they were working with for the street exteriors. “We worked out that what was needed were 12 SkyPanels per 20’x20’ silk, so each one was a block of 20’x20’, then we scaled that up,” Finney recalls. “I wanted a very seamless sky, so I used full grid cloth which made it very, very smooth. That was important because we’ve got lots of cars constantly driving around the set and the sloped windscreens reflect the ceiling. So we had to have seamless textiles – PKE had to source around 12,000 feet of textiles so that we could put them together, so the reflections in the windscreens of the cars just showed white gridcloth rather than lots of stage lights. We then drove the car around the set to test it from different angles.”  
On the floor, they mostly worked with LEDs, providing huge energy and cost savings for the production. Astera’s Titan Tubes came in handy for a fun flashback scene with John Hamm’s character Gabriel. The DP remembers: “[Gabriel] was travelling down a 30-foot feather tunnel. We built a feather tunnel on the stage and wrapped it in a ring of Astera tubes, which were then programmed by dimmer op Jon Towler to animate, pulse and change different colours. Each part of Gabriel’s journey through his consciousness has a different colour to it.” 
Among the rigs built was a 20-strong Creamsource Vortex setup for the graveyard scene in the “Body Snatchers” minisode, shot in Stirling. “We took all the yokes off each light then put them on a custom-made aluminium rig so we could have them very close. We put them up on a big telehandler on a hill that gave me a soft mood light, which was very adjustable, windproof and rainproof.” 
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Shooting on the VP stage for the birth of the universe scenes in episode one.
Sky’s the limit 
A lot of weather effects were done in camera – including lightning effects pulsed in that allowed both direct fork lightning and sheet lightning to spread down the streets. In the grade, colourist Spensley was also able to work his creative magic on the show’s skies. “Gareth is a very artistic colourist – he’s a genius at changing skies,” Finney says. “Often in the UK you get these very boring, flat skies, but he’s got a library of dramatic skies that you can drop in. That would usually be done by VFX, but he’s got the ability to do it in Baselight, so a flat sky suddenly becomes a glorious sunset.” 
Finney emphasises that the grade is a very involved process for a series like Good Omens, especially with its VFX-heavy nature. “This means VFX sequences often need extra work when it comes back into the timeline,” says the DP. “So, we often add camera movement or camera shake to crank the image up a bit. Having a colourist like Gareth is central to a big show like Good Omens, to bring all the different visual elements together and to make it seamless. It’s quite a long grade process but it’s worth its weight in gold.” 
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Shooting in the VR cube for the blitz scenes .
Finney took advantage of virtual production (VP) technology for the driving scenes in Crowley’s classic Bentley. The volume was built on their Scottish set: a 4x7m cube with a roof that could go up and down on motorised winches as needed. “We pulled the cars in and out on skates – they went up on little jacks, which you could then rotate and move the car around within the volume,” he explains. “We had two floating screens that we could move around to fill in and use as additional source lighting. Then we had generated plates – either CGI or real location plates –projected 360º around the car. Sometimes we used the volume in-camera but if we needed to do more work downstream; we’d use a green screen frustum.” Universal Pixels collaborated with Finney to supply in-camera VFX expertise, crew and technical equipment for the in-vehicle driving sequences and rear projection for the crucial car shots. 
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John Hamm was suspended in the middle of this lighting rig and superimposed into the feather tunnel.
Interestingly, while shooting at a VP stage in Leith, the team also used the volume as a huge, animated light source in its own right – a new technique for Finney. “We had the camera pointing away from [the volume] so the screen provided this massive, IMAX-sized light effect for the actors. We had a simple animation of the expanding universe projected onto the screen so the actors could actually see it, and it gave me the animated light back on the actors.”  
Bringing such esteemed authors’ imaginations to the screen is no small task, but Finney was proud to helped bring Crowley and Aziraphale’s adventures to life once again. He adds: “What’s nice about Good Omens, especially when there’s so much bad news in the world, is that it’s a good news show. It’s a very funny show. It’s also about good and evil, love and doing the right thing, people getting together irrespective of backgrounds. It’s a hopeful message, and I think that that’s what we all need.” 
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Finney is no stranger to the idiosyncratic world of Sir Terry Pratchett and Neil Gaiman.
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mike-mills · 3 months
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SALTBURN (2023) dir. Emerald Fennell
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shattereddteacup · 4 months
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The Holdovers (2023)
Dir. Alexander Payne
Language: English
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cybergus · 2 months
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From November 2023 Archives: Back to wide angle, by Abelardo Ojeda.
My Street Photoblog.
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vojjdless · 1 year
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outings & film festivals
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ahmerinam · 1 year
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Hummingbird by JedrzejP EOS-3, Carl Zeiss Jena Sonar 180mm on Vision 3 500T film pushed 1 stop. https://flic.kr/p/2jzmy7x
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s01e08/s02e09 for @post-woke & @loquatly
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noeliaamieva · 1 year
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Iceland Redo Part.I
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cinematograverse · 8 months
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sleepoutro · 1 year
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My Chemical Romance, Barclays Center night 2, New York City (edited screenshots, video by Tom's Archive)
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