“Koko’s passing really created an even higher urgency to tell this story and to release this film,” Smith added. ![]() Sadly, Smith said that were it not Koko Da Doll, “some other trans woman in Atlanta” would have been murdered, which factored into her desire to peel back the curtain on the reality of the lives of those like her – a reality that does include the possibility of violence. “She put on this whole thing of trying to be so tough and having it together, but she was the sweetest, biggest teddy bear in the whole film and her vulnerability, I was just drawn to it.”ĭaniella Carter in "Kokomo City." Magnolia Pictures “When I met Koko she cried within 30 seconds to a minute of us talking,” Smith said. Smith said it’s been “very tough” losing her even though the pair didn’t know each other prior to filming. ![]() One of the women who appears in the film, Koko Da Doll, was reportedly shot to death in Atlanta in April. It’s already won two awards at the Sundance Film Festival and made headlines, unfortunately in part due to a tragedy. The film is raw and unflinching, featuring discussions that range from the danger the women often face to the men who are secretly attracted to and patronizing them. Smith’s film does the same for Black transgender sex workers in New York City and Atlanta today. “Paris Is Burning” gave the world a glimpse into the ballroom culture in New York City, shining a spotlight on the LGBTQ+ community of the mid-to-late 1980s there. “I will never forget the first time I saw it, so for people to compare such a film to what I’ve done with my first film, I’m just blown away by that.” “I think it’s a tremendous comparison because ‘Paris Is Burning’ was so groundbreaking when it happened,” she recently told CNN. Smith couldn’t be happier about her new documentary, “Kokomo City,” being compared to 1990’s “Paris Is Burning.”
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![]() Raw proxies allow modification of raw processing related parameters, like white balance, exposure, highlight recovery, etc.All you need to do is change the top media folder. Because the file and folder structure of the proxies mimic the original video, it is very easy to relink back and forth between originals and proxies.Keep the same Raw workflow inside your post production suite as if you were grading the original Raw files.Raw proxies look and behave like straight off the camera raw files – Lower resolution proxies created by slimRAW are in the CinemaDNG format, the same as the original video.Raw proxies created by slimRAW (using 5:1 lossy) from 4.6K CinemaDNG will have a 2.3K resolution and data rate similar to 1080p ProResHQ. For example, raw proxies created by slimRAW (using 5:1 lossy) from 4K CinemaDNG will have a 2K resolution and data rate similar to 1080p ProRes 422. ![]() However, slimRAW puts forward a different paradigm geared specifically for high resolution CinemaDNG raw video production by having the unique ability to generate Raw files at 50% the horizontal and vertical resolution of the original CinemaDNG raw files.Ĭoupled with lossy compression, this would result in ratios as high as 20:1 when using Lossy 5:1. Traditionally, editors would use proxies in a popular intermediate video codec like Apple ProRes or Avid DNxHD. Together with the previously available raw compression functionality, this allows huge data size reductions (up to 20:1 or more) and facilitates a Raw proxy workflow for high resolution CinemaDNG production.Īiming to exploit the convergence of raw video editing and grading capabilities in popular post production suites such as DaVinci Resolve 12.5, CinemaDNG raw proxies enable a smoother raw editing experience while preserving the grading flexibility of the raw workflow. This means that with slimRAW v1.7 you can now get a 2K CinemaDNG from 4K CinemaDNG, 2.3K from 4.6K (very handy for those who want to save hard disc space and shoot with the Blackmagic URSA Mini), etc. Our good friends at slimRAW just released the latest update version 1.7 , which now adds the ability to downscale CinemaDNG raw to half its original resolution. Furthermore, the lossless compressed raw video output of slimRAW is exactly the same after decompression as the original uncompressed video. The best part is that this conversion doesn’t affect the image quality of the initial files. For those, yet not familiar with slimRAW it is basically a fast CinemaDNG compressor that converts uncompressed CinemaDNG raw video to lossless compressed CinemaDNG. You may recall not that long ago, we posted about slimRaw – a must have software for those shooting with just about any form of Raw whether it being a Blackmagic Design CinemaDNG Raw from a Micro Cinema camera or an URSA Mini to a Magic Lantern variant for the Canon 5D Mark III for example or even FS Raw from cameras like the Sony FS700/FS5/FS7 with the Odyssey7Q+, among many others (see a full list of supported cameras below). |
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