Relies on a Full Adobe Creative Cloud Workflow for Spot-On Mockumentary Look Bill Hader in the episode "Globesman." Photo by Elizabeth Morris/IFC. IFC's mockumentary series Documentary Now! emulates a different documentary in each episode. Much of the show's humor comes from the look of the show being so close to the documentary it's based on, such as Grey Gardens or Jiro Dreams of Sushi. For editing and post, the crew relies on a full Adobe Creative Cloud workflow. "The whole idea is that we're able to have an evolving process that's not regimented: here's the editing stage, here's the sound stage, here's the VFX stage," says editor Micah Gardner. "Creative Cloud gives us this comprehensive toolset. It helps us really lend our imaginations over the story and make much better creative decisions as a result." “Having the tools to create a rough cut that looks very close to the final cut in terms of color, grain, and film emulation has been a huge advantage for us,” adds director and DP Alex Buono.

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Lectrosonics to Receive 2017 Academy Award for Technical AchievementThis Week in New York Insider's Guide to Arts & Culture in New York City Since 2001 WEEKEND CLASSICS — KUROSAWA: RAN RAN (Akira Kurosawa, 1985) 323 Sixth Ave. at West Third St. July 22-24, $13, 11:00 am Series continues through September 11 Inspired by the story of feudal lord Mori Motonari and Shakespeare’s King Lear, Akira Kurosawa’s Ran is an epic masterpiece about the decline and fall of the Ichimonji clan. Aging Lord Hidetora (Tatsuya Nakadai) is ready to hand over his land and leadership to his three sons, Taro (Akira Terao), Jiro (Jinpachi Nezu), and Saburo (Daisuke Ryû). But jealousy, misunderstandings, and outright deceit and treachery result in Saburo’s banishment and a violent power struggle between the weak eldest, Taro, and the warrior Jiro. Hidetaro soon finds himself rejected by his children and wandering the vast, empty landscape with his wise, sarcastic fool, Kyoami (Peter), as the once-proud king descends into madness.

Dressed in white robes and with wild white hair, Nakadai (The Human Condition), in his early fifties at the time, portrays Hidetaro, one of the great characters of cinema history, with an unforgettable, Noh-like precision. Kurosawa, cinematographers Asakazu Nakai, Takao Saitô, and Masaharu Ueda, and Oscar-winning costume designer Emi Wada bathe the film in lush greens, brash blues, and bold reds and yellows that marvelously offset the white Hidetaro. sushi grade fish pleasantonKurosawa shoots the first dazzling battle scene in an elongated period of near silence, with only Tôru Takemitsu’s classically based score playing on the soundtrack, turning the film into a thrilling, blood-drenched opera. jiro dreams of sushi ifcRan is a spectacular achievement, the last great major work by one of the twentieth century’s most important and influential filmmakers. yo sushi takeaway menu exeter

Ran will be screening at 11:00 am on July 22, 23, and 24 as part of the IFC Center’s Weekend Classics — Kurosawa series, which continues with Dreams (July 29-31) and Rhapsody in August (August 5-7); ticket sales benefit Japan Society’s Earthquake Relief Fund.Brakeless is a cautionary tale of what happens when punctuality, protocol, and efficiency are taken to the extreme.On Monday, April 25th 2005, a West Japan Railway (West JR) commuter train crashed into an apartment building and killed 107 people when a driver tried to catch up with an 80-second delay. Just what pressures made the driver risk so much for such a minimal delay? Was this accident simply the result of human or mechanical failure, or the failure of society in a larger sense? MORE Piecing together personal accounts of those affected by the train crash, Brakeless poses a question for a culture that equates speed with progress. It examines the way in which the characteristics that are usually considered national virtues may have become more of a danger to the people of Japan.The film revisits the train journey, in part through the use of animation, and follows the aftermath through the eyes of the survivors.

The crash is examined in light of the historical and economic development in post-war Japan, a country that rose from the ashes to become a smash economic success worldwide.But its rapid modernization may have come with a price, and Brakeless shows the side effects of privatization and the phenomena coined as the “Japanese disease” by writer Kunio Yanagida, who argues that the train wreck epitomizes an economic malaise he observes has been happening widely in post-bubble Japan.Director Kyoko Miyake’s film shows how the impact of this disaster sent shock waves that still resonate years later. The FilmmakerKyoko Miyake, DirectorMiyake’s first feature-length documentary, My Atomic Aunt (a.k.a. Beyond the Wave / Meine Tante aus Fukushima) was supported by 7 broadcasters and numerous grants including BBC, NHK, WDR, and Sundance and has been screened and broadcast in many countries. Brakeless is her second film, and was a co-production with BBC Storyville, ITVS, NHK, IKON, and DR.Several short documentaries Miyake directed have been shown at festivals internationally including Berlin, London, Sydney, and SilverDocs.