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poster
Hoopla
80
7.6
/13801/
77
/590/
73
/291/
3.7
/13570/
92
/66/
86
/370/
82
/20/

Side by Side (2012)
Since the invention of cinema, the standard format for recording moving images has been film. Over the past two decades, a new form of digital filmmaking has emerged, creating a groundbreaking evolution in the medium. Keanu Reeves explores the development of cinema and the impact of dig... Moreital filmmaking via in-depth interviews with Hollywood masters, such as James Cameron, David Fincher, David Lynch, Christopher Nolan, Martin Scorsese, George Lucas, Steven Soderbergh, and many more. Less
poster
65
31
7.1
/356/
66
/12/
66
/9/
3.5
/941/
65
/257/
56
/29570/

From Puppets to Pixels: Digital Characters in 'Episode II' (2002)
For Star Wars: Episode II - Attack of the Clones (2002), there were to be many more visual effects than in Star Wars: Episode I - The Phantom Menace (1999). This documentary shows many VFX meetings between George Lucas and ILM. Many of these meetings focus around the creation of a completely digital Yoda, used for the first time in the Star Wars films.
poster
51
?
5.3
/115/
65
/4/
37
/3/

From Morf to Morphing: The Dawn of Digital Filmmaking (2013)
Documentary about the invention of MORF, the program for morphing, which was created for the film Willow (1988).
poster
?
7.3
/76/
60
/1/
55
/2/

Back to Room 666 (2008)
What is the future of cinema? In 1982, in Cannes, Wim Wenders invited many movie makers to answer this question. 26 years later, the question remains, but Wenders is now on the other side of the camera.
poster
?
6.2
/87/
63
/3/

No Feat But What We Make: 'Terminator 2' and the Rise of Digital Effects (2003)
A look at the digital effects in Terminator 2: Judgment Day.
poster
?
4.6
/54/
70
/2/

Dublin 26.06.08: A Film in 4 Days (2008)
In a rare and potentially fatal feat of cinematic daring, "Dublin 26.06.08" was shot entirely between 12.01am and 11.59pm on Thursday June 26th 2008. This audacious cinematic collage offers both a unique snapshot of a single day in the life of Dublin and a vivid example of a bold guerri... Morella filmmaking model. The film is an eclectic, multi-authored impression of Dublin (within the bounds of the encircling M50 motorway) as it lived, died, breathed, made love, filled up and emptied, consumed, wept, was rained and shone upon, grew bright and then darkened again. Less
poster
?

Break A Leg
Two actors are cast to enact the same role of a scene in the same short film. They both fumble. They both goof-up.


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