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The post-production secrets of 'Birdman' can finally be revealed

  • Hitfix
With the Academy Awards a memory and the "Birdman" team walking away with a boatload of Oscars, nondisclosure agreements keeping a lid on the secrets of the film's elaborate post-production digital "stitching" process have allowed a revelation to out. Technicolor, it turns out, invented an entirely new digital intermediate methodology to meet director Alejandro González Iñárritu's visual demands for the project, adding a whole new layer of depth to the already startling craftsmanship on display. The "single take" quality of "Birdman" started out as whispers in the summer. I first heard about it from producer John Lesher on the set of "Black Mass" in June, that it was "sort of a magic trick" how the effect was achieved. But it was also made clear at the time that they weren't really talking about it, in part to maintain the illusion when viewers finally got a look at it (as
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Joe Bataan, Boogaloo Legend

Joe Bataan, Boogaloo Legend
Boogaloo is back.

One of the musical genre’s innovators, the self-proclaimed “Afro-Filipino King of Latin Soul” Joe Bataan will play Friday at the Smithsonian National Museum of Natural History in Washington, D.C.

Called the “first Nuyorican music” by producer Rene Lopez, boogaloo was born in 1960s. Often sung in both English and Spanish, boogaloo blends Latin rhythms like mambo and son with R&B, soul and doo-wop into a distinctly New York mishmash with a driving backbeat. As Juan Flores explains in From Bomba to Hip-Hop: Puerto Rican Culture and Latino Identity, the musical fusion emerged in Manhattan dancehalls where Latino and black neighbors got together. At the same locale, mambo might dominate one night, and R&B another.

As Jimmy Sabeter of the Joe Cuba Sextet tells it in Flores' book, boogaloo’s birth occurred when the band first played its hit “Bang! Bang!” during a 1966 gig
See full article at Huffington Post »

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