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A judge ruled in favor of James Cameron, Twentieth Century Fox and Lightstorm Entertainment Thursday, finding that it could not be proven that they stole copyrighted ideas for the 2009 blockbuster “Avatar.” Also read: James Cameron Reveals ‘Avatar’ Sequel Script Plans During Reddit Ama United States District Judge Jesse M. Furman, Southern District of New York, dismissed the suit by artist Roger Dean, who alleged that Cameron had stolen ideas from several of his works. The pertinent opinion: The works are indisputably similar insofar as they present the natural world in a fantastical way by depicting airborne land masses. But Plaintiff »
- Jordan Zakarin
U.S. District Court Judge Jesse Furman in New York tossed a copyright-infringement suit by artist William Roger Dean, who alleged Dean that the look of the “Avatar” planet Pandora and its creatures were derived from his artwork.
Dean is best known for his art on album covers for the bands Yes and Asia.
In a ruling issued Wednesday, Furman said efforts to show similiarities were “misguided” and noted many of the “Avatar” images in the suit were not taken from the film itself but from books about the movie.
Dean had sued Cameron, 20th Century Fox and Lightstorm Entertainment seeking $50 million in damages. Furman found for the defendants.
“They contend that Plaintiff cannot show that a substantial similarity exists between ‘Avatar’ and the copyrightable elements of Plaintiff’s artworks,” he wrote. »
- Dave McNary
Movie News - The 'Avatar' sequels could use Douglas Trumbull's new system for 4K 3D at 120 frames per second. Trumbull has confirmed the news in an interview with The Hollywood Reporter, in which he revealed that James Cameron - who wrote and directed the original film in 2009 - is intrigued by cutting-edge technology. He said: ''I know that Cameron admired Showscan [Trumbull's earlier invention of a large-format high-frame rate projection system] and that he is a huge advocate of high frame rates [HFRs].'' He added: ''The use of HFRs for 'Avatar' would be very appropriate and very successful. ''I don't know if Cameron is interested [in using Magi for the Avatar sequels]. He's in seclusion writing the screenplay for Avatar. I am talking to [series producer] Jon Landau, and we plan to have a screening [of Ufotog] soon.'' What's more, Trumball said he's also in talks with other directors about Magi. He explained: ''It »
In cinematic circles, James Cameron and bleeding-edge technology go hand in hand. Whether it’s overseeing the construction of the world’s largest indoor water tank for Titanic back in 1997 or pushing the envelope for Avatar with ultra-realistic motion capture, the filmmaker likes to establish his own filmic parameters.
And now, it seems as though Cameron is eyeing up the possibility of shooting the Avatar sequels in full 4K resolution through the use of Douglas Trumbull’s patented gizmo, Magi — an experimental process that renders the image in 4K 3D at 120 frames per second.
“I know that Cameron admired Showscan [Trumbull's earlier invention of a large-format high-frame rate projection system] and that he is a huge advocate of high frame rates [HFRs]. The use of HFRs for Avatar would be very appropriate and very successful. »
- Michael Briers
Unlike some of his esteemed colleagues, James Cameron has never shied away from new technology. He’s been a proponent of 4K resolution and higher frame rates for years. In fact, he’s been telling people he wanted to shoot his Avatar sequels in 60 Fps since 2011 — before Peter Jackson’s 48 Fps Hobbit even hit […]
The post Will The ‘Avatar’ Sequels Shoot in 120 Frames Per Second? appeared first on /Film. »
- Angie Han
Remember when The Hobbit: An Unexpected Journey came out? Remember the while who-ha in regards to film being shot at a whopping 48-frames-per-second? The world was in uproar as to why the new technology was being used, despite the fact that you could march on down to your local multiplex and still have the choice of viewing the film in the new higher frame rate format or the old 24-frames-per-second one. Very much like you have a choice of viewing a film in 2D or 3D. Well, as much as Peter Jackson got excited about projecting at a higher frame rate, another has gone one step further? James Cameron.
The word around the campfire is that Cameron’s people are holding meetings with tech folk about potentially screening the two planned Avatar sequels at a huge 120-frames-per-second. Take that Internet. A guy named Douglas Trumbull has developed a new way of projecting a 3D, »
- Paul Heath
Filmmaker James Cameron loves creating and using state of the art technology to make his films. The Terminator director was one of the driving forces behind the re-emergence of 3D, taking technology that was once regarded as gimmicky and making it a mainstay of modern blockbusters. He.s also been a huge proponent of making films at a higher framerate . and there.s currently nothing out there that.s bigger and better than Douglas Trumbull.s Magi process for achieving that goal. Could Cameron.s Avatar sequels take advantage of this new tech and make it mainstream? This is the question raised in a THR piece on Trumbull. The inventor reports that he.s spoken with Avatar producer Jon Landau about getting Cameron to view Ufotog, a short film designed to show off the new tech. So, what is Magi? It.s basically a system that shows films in 3D »
VFX veteran Douglas Trumbull has revealed that he's had discussions with James Cameron's producing partner Jon Landau about potentially using Trumbull's Magi technology on the upcoming "Avatar" sequels.
Trumbull has developing a filming system that shoots 4K 3D at 120 frames per second, one that could overcome some of the issues with Peter Jackson's "The Hobbit" films which were shot at 48 frames per second rather than the 24 frames per second of standard film. Trumbull tells THR:
"I know that Cameron admired Showscan and that he is a huge advocate of high frame rates [HFRs]. The use of HFRs for Avatar would be very appropriate and very successful. I don't know if Cameron is interested [in using Magi for the Avatar sequels]. He's in seclusion writing the screenplay for Avatar . I am talking to Jon Landau, and we plan to have a screening [of Ufotog] soon."
"Ufotog" refers to a ten minute, demonstrative and experimental sci-fi adventure film which showcases the technology. »
- Garth Franklin
Director Peter Jackson helped push the envelope of frame rate technology by presenting The Hobbit: An Unexpected Journey and The Hobbit: The Desolation of Smaug in the high frame rate (Hfr) of 48 frames per second, double the industry standard of 24 Fps. Now it seems filmmaker James Cameron may go even further with his upcoming Avatar sequels, Avatar 2, Avatar 3 and Avatar 4 by filming at 120 frames per second.
Douglas Trumbull, who developed a 4K 3D system that is shot at 120 Fps dubbed Magi, revealed in an interview with The Hollywood Reporter that he has spoken with James Cameron's producing partner Jon Landau about using this technology on the Avatar follow-ups. Here's what Douglas Trumbull had to say about setting up a screening of his short film Utofog, which showcases the Magi technology.
"I know that Cameron admired Showscan [Trumbull's earlier invention of a large-format high-frame rate projection system] and that he is a huge advocate of high frame »
Ibc: VFX veteran Douglas Trumbull claims the groundbreaking technology could revitalise the theatrical experience.
Director and VFX veteran Douglas Trumbull has urged filmmakers James Cameron, J.J Abrams and Peter Jackson to adopt his groundbreaking super high frame rate 3D production and presentation format in a bid to revitalise the theatrical experience.
At a screening of his experimental short Ufotog, shot in 3D at 4K resolution and at 120 frames a second, projected for the first time using Christie Digital’s 3D 6P laser projection system at trade show Ibc today, Trumbull called on exhibitors and directors to embrace the format.
“Right now the technical standards of cinema are almost identical to the technology standard of TV,” he said.
“There is very little difference between those two mediums and young people in particular are migrating away from movies because of the convenience of watching movies on a tablet.
“But if we can make an immersive motion picture spectacle »
Could James Cameron's Avatar sequels become the first features to be produced and exhibited using Douglas Trumbull's developing system for 4K 3D at 120 frames per second (fps)? Trumbull told The Hollywood Reporter he has talked with Avatar producer Jon Landau about viewing the short film Utofog, which is a showcase for Trumbull's patented process, dubbed Magi, for capturing and displaying images at 120 frames per second in 4K and 3D on giant screens using conventional digital projectors. “I know that Cameron admired Showscan [Trumbull's earlier invention of a large-format high-frame rate projection system] and that he is
- Adrian Pennington, Carolyn Giardina
We’ve reviewed every summer movie season since 1980 to find out which are the best, and which are the worst. Last week we posted our picks for the worst, and here we post our picks for the best.
2015 and 2016 may just be the most overthetop summer movie seasons yet. It seems like nearly every movie slated for a summer 2015 or 2016 release is heavily anticipated. Because of these impending summers of movie awesomeness, we’ve decided to take a look back at summer movie seasons of years past. The idea of the summer movie season is currently in full swing, but it didn’t catch on immediately. Hollywood had to do its fair share of experimenting to determine what types of films would be most successful. As a result, some summer movie seasons have been better than others. We’ve reviewed them all for you and ranked them from worst to best. »
- email@example.com (G.S. Perno)
Ana Lily Amirpour’s “A Girl Walks Home Alone at Night” won the Cartier prize for best film from the Revelation jury — comprising Audrey Dana, Anne Beres, Lola Bessis, Christine & the Queens, Freddie Highmore and Clemence Poesy.
The Michel »
- Elsa Keslassy
Judging by Michael Douglas’ presence as producer and star, “The Reach” must have been some sort of passion project for the aging Hollywood icon. Well, as Pascal observed, the heart has its reasons — which, in Douglas’ case, remain impenetrable at the end of “The Reach,” for upwards of 90 minutes, while the audience looks on in quiet disbelief. A hopelessly misguided mashup of Cornel Wilde’s 1955 cult favorite “The Naked Prey” and “The Most Dangerous Game,” with Douglas playing a mutant hybrid of Gordon Gekko and the Glenn Close character from “Fatal Attraction,” this inauspicious English-language debut for promising French helmer Jean-Baptiste Leonetti doesn’t look to reach far from its Toronto premiere (where Lionsgate paid a surprising $2 million for the U.S. rights).
If there were a festival prize for most Chekovoian use of a handgun, it would surely go to “The Reach” for the early scene in which small-town »
- Scott Foundas
On September 19th, 20th Century Fox will unveil the highly anticipated The Maze Runner and according to early numbers, director Wes Ball’s movie is on track for a $30 million opening when it bows next weekend.
Based upon the best-selling novel by James Dashner, when Thomas wakes up trapped in a massive maze with a group of other boys, he has no memory of the outside world other than strange dreams about a mysterious organization known as W.C.K.D. Only by piecing together fragments of his past with clues he discovers in the maze can Thomas hope to uncover his true purpose and a way to escape.
One of the most popular soundtracks Sony Music has released this year, the original movie score is from American film composer and conductor John Paesano.
Originally from Detroit, Michigan, Paesano initially studied classical music with composition professor Sally Dow Miller of Conservatoire de Paris. »
- Michelle McCue
Filmmaker and legendary special-effects guru Douglas Trumbull gave a special demonstration at the Toronto Film Festival, screening 10 minutes of Ufotog, his high-intensity, 3-D immersive work-in-progress that he filmed at 120 frames per second. Most Hollywood movies are filmed and projected at 24 frames per second, the industry standard for almost 100 years, even though digital camera and projector technology has opened the door for much greater speeds. In 2012, Peter Jackson filmed The Hobbit at 48 frames per second—and though the film grossed more than a billion around the globe, many viewers flinched at the film’s “soap-opera” look.
Trumbull, who famously worked with »
- Jeff Labrecque
Not to be confused with movie-lovers website the Dissolve, company Dissolve offers high-quality video footage for television, advertising, editorial and documentary filmmaking, video games, and more. Some people there decided to have a little fun with its stock video collection and compiled a hilarious clip called Scenes You’ve Seen: Blockbuster Movies Re-created with Stock Footage. It’s exactly what it sounds like. Adding to the fun is their descriptions of the films in question. Rather than providing us with the title of the movie they’re remaking, the Dissolve folks offer pithy snippets like “epic boat fail” when referring to James Cameron’s Titanic, or “writer-slash-caretaker takes his family on a winter...
- Alison Nastasi
The award will be presented at the 26th Annual Producers Guild Awards ceremony on Jan. 24 at the Hyatt Regency Century Plaza.
“On behalf of the entire Lionsgate team, it is a tremendous honor and deeply humbling to join the elite group of recipients previously honored with the Milestone Award,” said Feltheimer. “The Producers Guild represents the creativity, innovation and dynamism that sets our industry apart from all others.”
PGA Awards co-chairs Todd Black and Ryan Murphy said, “Jon Feltheimer is one of the most accomplished leaders in the industry and has played a pivotal role in Lionsgate’s evolution from independent studio to global content leader. Jon’s passion across the spectrum of storytelling has brought us such iconic films and TV shows as ‘Mad Men,’ ‘Weeds,’ ‘Orange is the New Black, »
- Dave McNary
We've known for some time that Paramount Pictures has been dying to turn the Terminator franchise into a cash cow. The first two films came out in an era of Hollywood filmmaking that wasn't so franchise-centric, and they did well. Directed by James Cameron, the films helped elevate the sci-fi genre, raised the bar for special effects, and helped turn Arnold Schwarzenegger into a bonafied silver screen icon. A later sequel, without Cameron attached, came out and did little to re-spark interest in the franchise. Then in 2009, a new studio took a shot at reviving the franchise- announcing a "new trilogy" that wouldn't include Cameron or Schwarzenegger- and took its opening shot with McG's Terminator: Salvation.
That one, also, didn't exactly set the world on fire or kickstart a fresh appetite for more Terminator films. So that trilogy was aborted.
Now Paramount has the rights, and they think they've »
- Mario-Francisco Robles
After last week’s news about Netflix securing The Blacklist for a record fee, a similar story came to light this week concerning the pre Batman prequel series Gotham. Now rather than getting it day and date after Us broadcast as per Breaking Bad and From Dusk Till Dawn, Gotham’s entire run will just arrive on Netflix after it’s finished its TV broadcast. Worse news is that this means you have to wait for Channel 5 to get their finger out and schedule it on one of their three channels and then muck it around the schedule just to confuse you further and for it to finish its run there. Kind of takes the wind out the sails doesn’t it? I wouldn’t expect to see Gotham on Netflix until this time next year at best but we will see.
In better news David Wain’s relatively well »
- Chris Holt
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