They pick the best, non-traditional shots from great effects films. Keep scrolling for some of the classics that go way, way back.
Maybe you got a new TV for Christmas. Or maybe you just got one recently. Maybe you are thinking of buying one. Whichever is the case, take heed: your TV will try very, very hard to make whatever movies you watch on it look not just bad, but aggressively, satanically, puppy-drowningly bad.
TVs are designed to do one thing above all: sell. To do so, they must fight for attention on brightly-lit showroom floors. Manufacturers accomplish this in much the same way that transvestite hookers in San Francisco’s Tenderloin district do—by showing you everything they’ve got, turned up to eleven. You want brightness? We’ll scald your retinas. You want sharpness? We’ll draw a black outline around everything for you. Like bright colors? We’ll find them even in Casablanca. Oh, and since you associate “yellowing” with age and decay, we’ll also make the image as blue as a retiree’s bouffant on Miami beach.
Don’t miss the “smooth motion” section, or what I like to call the “soap-opera effect.” Turn it off!
Side by Side Trailer
The Science, Art, and Impact of Digital Cinema
For almost one hundred years there was only one way to make a movie — with film. Movies were shot, edited and projected using photochemical film. But over the last two decades a digital process has emerged to challenge photochemical filmmaking.
A new documentary produced by Keanu Reeves, Side By Side takes an in-depth look at this revolution. Through interviews with directors, cinematographers, film students, producers, technologies, editors, and exhibitors, Side By Side examines all aspects of filmmaking — from capture to edit, visual effects to color correction, distribution to archive. At this moment when digital and photochemical filmmaking coexist, Side By Side explores what has been gained, what is lost, and what the future might bring.