{"id":5120,"date":"2014-12-26T10:55:23","date_gmt":"2014-12-26T18:55:23","guid":{"rendered":"http:\/\/fwdlabs.com\/blog\/?p=5120"},"modified":"2016-05-16T19:01:10","modified_gmt":"2016-05-17T02:01:10","slug":"dailies-the-wires-reframe-youtubes-vine-sonys-interview","status":"publish","type":"post","link":"https:\/\/fwdlabs.com\/blog\/dailies-the-wires-reframe-youtubes-vine-sonys-interview\/","title":{"rendered":"[Dailies] The Wire&#8217;s Reframe, YouTube&#8217;s Vine, Sony&#8217;s &#8220;Interview&#8221;"},"content":{"rendered":"<ul>\n<li><div id=\"attachment_5351\" style=\"width: 330px\" class=\"wp-caption alignright\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-5351\" src=\"https:\/\/fwdlabs.com\/blog\/wp-content\/uploads\/the-wire-tn.jpg\" alt=\"The Wire. Poster design by Ignition.\" width=\"320\" height=\"240\" class=\"size-full wp-image-5351\" \/><p id=\"caption-attachment-5351\" class=\"wp-caption-text\">The Wire. Poster design by Ignition.<\/p><\/div>There&#8217;s a new debate about re-framing cinematography in post-production <em>years<\/em> later, not the way it was ever meant to be seen, but because it was captured in a way that now fit our 16:9 televisions and phones. David Simon, who created the show &#8220;The Wire,&#8221; has <a href=\"http:\/\/davidsimon.com\/the-wire-hd-with-videos\/\">his critique of the re-alignment effort<\/a> with videos comparing the 4:3 original and new 16:9 crop, presumably to sell a new Blu-ray edition. \/Film has a clear <a href=\"http:\/\/www.slashfilm.com\/the-wire-hd-remasters\/\">overview of the issue<\/a> with the so-called remasters. This hot topic gets talked about a lot by cinematographers, who usually aren&#8217;t involved with their shots being re-framed. Variety recently <a href=\"http:\/\/variety.com\/2014\/film\/news\/cinematographers-fight-for-control-of-the-image-1201382475\/\">interviewed some DPs<\/a> about where the collaboration often breaks down and composition goes separate ways.<\/li>\n<li><div id=\"attachment_5354\" style=\"width: 330px\" class=\"wp-caption alignright\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-5354\" src=\"https:\/\/fwdlabs.com\/blog\/wp-content\/uploads\/julia-roberts-is-mother-nature-tn.jpg\" alt=\"Watch &quot;Julia Roberts is Mother Nature.&quot;\" width=\"320\" height=\"180\" class=\"size-full wp-image-5354\" \/><p id=\"caption-attachment-5354\" class=\"wp-caption-text\">Watch <a href=\"https:\/\/www.youtube.com\/watch?v=WmVLcj-XKnM\">&#8220;Julia Roberts is Mother Nature.&#8221;<\/a><\/p><\/div>Stars of the big screen and little screen are doing something different. <a href=\"https:\/\/www.youtube.com\/watch?v=WmVLcj-XKnM\">Julia Roberts<\/a> and <a href=\"https:\/\/www.youtube.com\/watch?v=rM6txLtoaoc\">Harrison Ford<\/a> among other name actors lend their voices to pro-environment adverts called &#8220;Nature is Speaking&#8221; for Conservation International, <a href=\"http:\/\/www.theguardian.com\/environment\/damian-carrington-blog\/2014\/oct\/06\/julia-roberts-plays-mother-earth-and-harrison-ford-stars-as-the-ocean-as-hollywood-a-list-speaks-out-for-nature\">according to a write-up<\/a> in The Guardian. The short-form videos are quite effective in using just a scripted voice-over to something you wouldn&#8217;t expect, therefore giving the advert more recognition. Then, on the small screen, there&#8217;s a <a href=\"http:\/\/www.newyorker.com\/magazine\/2014\/12\/15\/hollywood-vine\">great opinion piece<\/a> in The New Yorker about how YouTube has graduated from amateur hour while one of their rivals, Vine, has become a hub for up-and-coming professional talent. According to the article, Vine really took off when mobile phones began to have better self-facing cameras. There&#8217;s also something to be said about <em>very short<\/em> storytelling online, since Vine limits you to six seconds. (Footnote: Vine is owned by Twitter, not YouTube.)<\/li>\n<li><div id=\"attachment_5356\" style=\"width: 330px\" class=\"wp-caption alignright\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-5356\" src=\"https:\/\/fwdlabs.com\/blog\/wp-content\/uploads\/the-interview-tn.jpg\" alt=\"The Interview. Poster design by Ignition.\" width=\"320\" height=\"475\" class=\"size-full wp-image-5356\" srcset=\"https:\/\/fwdlabs.com\/blog\/wp-content\/uploads\/the-interview-tn.jpg 320w, https:\/\/fwdlabs.com\/blog\/wp-content\/uploads\/the-interview-tn-216x320.jpg 216w\" sizes=\"auto, (max-width: 320px) 100vw, 320px\" \/><p id=\"caption-attachment-5356\" class=\"wp-caption-text\">The Interview. Poster design by Ignition.<\/p><\/div>Best reactions to the Sony hack \/ &#8220;The Interview&#8221; yank include <a href=\"http:\/\/www.nytimes.com\/2014\/12\/15\/opinion\/aaron-sorkin-journalists-shouldnt-help-the-sony-hackers.html\">Aaron Sorkin&#8217;s opinion piece<\/a> in the New York Times. The co-editor of Variety also <a href=\"http:\/\/variety.com\/2014\/film\/news\/dear-twitter-sony-and-theater-owners-arent-to-blame-1201382622\/\">summarized his thoughts on how Sony and theater owners aren&#8217;t the bad guys<\/a>. One issue that hasn&#8217;t been well reported comes via PBS Newshour and <a href=\"http:\/\/www.pbs.org\/newshour\/rundown\/sony-emails-reveal-a-studio-with-lax-internet-security-practices\/\">discusses the poor I.T. security<\/a> at the studio and how the hack was easier than usual due to bad practices. After all of the drama, out of solidarity, small art house theaters around the country <a href=\"http:\/\/deadline.com\/2014\/12\/interview-tim-league-george-r-r-martin-sony-1201334720\/\">banded together to show the film<\/a> as planned for Christmas Day despite the threats. This was followed by video-on-demand &#8212; renting or buying the film for a fee &#8212; thanks to Google Play, Microsoft XBox, and YouTube all stepping up. Inversely, this effect also made &#8220;The Interview&#8221; ineligible for any Oscars, since they frown upon films that debut online first. That&#8217;s the price to pay for finding a solution.<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>There&#8217;s a new debate about re-framing cinematography in post-production years later, not the way it was ever meant to be seen, but because it was captured in a way that now fit our 16:9 televisions and phones. David Simon, who created the show &#8220;The Wire,&#8221; has his critique of the re-alignment effort with videos comparing [&hellip;]<\/p>\n","protected":false},"author":43,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6,1],"tags":[],"class_list":["post-5120","post","type-post","status-publish","format-standard","hentry","category-film","category-general"],"_links":{"self":[{"href":"https:\/\/fwdlabs.com\/blog\/wp-json\/wp\/v2\/posts\/5120","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/fwdlabs.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/fwdlabs.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/fwdlabs.com\/blog\/wp-json\/wp\/v2\/users\/43"}],"replies":[{"embeddable":true,"href":"https:\/\/fwdlabs.com\/blog\/wp-json\/wp\/v2\/comments?post=5120"}],"version-history":[{"count":1,"href":"https:\/\/fwdlabs.com\/blog\/wp-json\/wp\/v2\/posts\/5120\/revisions"}],"predecessor-version":[{"id":6063,"href":"https:\/\/fwdlabs.com\/blog\/wp-json\/wp\/v2\/posts\/5120\/revisions\/6063"}],"wp:attachment":[{"href":"https:\/\/fwdlabs.com\/blog\/wp-json\/wp\/v2\/media?parent=5120"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/fwdlabs.com\/blog\/wp-json\/wp\/v2\/categories?post=5120"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/fwdlabs.com\/blog\/wp-json\/wp\/v2\/tags?post=5120"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}