Latest news with #Panavision
Economic Times
4 days ago
- Economic Times
Google Pixel 10 ad leak reveals design, AI features ahead of launch
A Google Pixel 10 advertisement that was being filmed on a public beach in Vancouver, Canada, has inadvertently revealed details about the phone's design and possible new AI leak originated from X user @MarksGonePublic, who shared behind-the-scenes photos of a professional shoot and a storyboard that clearly identifies the device as the Google Pixel to the user, he stumbled upon a 'full-on commercial shoot' for the device, which appears to carry the campaign tagline 'Ask more of your phone.'He wrote: Just out for a walk…stumbled onto a full-on commercial shoot for the Google Pixel 10. They had a macro probe lens, a Panavision rig, and 20+ crew members…to film someone holding a phone. — MarksGonePublic (@MarksGonePublic) He went on to challenge the production choice, stating, 'If the Pixel camera's so good, why not just use it?' What the leaks reveal Although the Pixel 10 is yet to be officially announced, the leaked images suggest a design closely resembling the Pixel 9 Pro. The visuals show two circular sensors—believed to be a flash and a thermometer sensor—alongside the power button, volume rocker, and oval-like camera lenses, just like its included storyboards place a strong focus on the camera. One showcases a clean product shot, while another appears to highlight a feature titled 'Add Me.' Also visible in the leak are two distant real-world shots of the Pixel 10 Pro in the black Obsidian finish, again echoing the look of the Pixel 9 Pro. Given Google's recent AI announcements around its Gemini platform at I/O 2025, it's likely the Pixel 10 will arrive equipped with enhanced generative AI (GenAI) features.
Express Tribune
4 days ago
- Express Tribune
Google Pixel 10 leaks: Here's all we know so far ahead of August launch
Google's Pixel series has evolved from an experimental concept into a reliable smartphone lineup over the past decade. As we await the Pixel 10, expected later this year, leaks and rumours are offering a clearer picture of what's to come. A recent sighting by X user MarksGonePublic revealed a commercial shoot for the Pixel 10, hinting at its features and design. While the phone wasn't fully visible, the appearance of a video team suggests a well-progressed launch. 🎬 Just out for a walk… stumbled onto a full-on commercial shoot for the Google Pixel 10 📱 They had a macro probe lens, a Panavision rig, and 20+ crew members… to film someone holding a phone 😂 If the Pixel camera's so good, why not just use it? 👀 #BTS #Vancouver — Mark Teasdale ★ (@MarksGonePublic) May 23, 2025 The Pixel 10 is expected to come in several models, including the base Pixel 10, Pixel 10 Pro, Pro XL, and possibly a Pixel 10 Pro Fold. A Pixel 10a may also arrive in 2026 for a mid-year refresh. Processor and Performance: The Pixel 10 will be powered by the new Tensor G5 chip, an upgrade from previous versions. While not necessarily industry-leading in benchmarks, Tensor chips are known for delivering smooth, reliable user experiences, with an emphasis on AI-driven features like image processing and voice recognition. Camera Upgrades: Leaked renders show the base Pixel 10 will feature a third lens, a telephoto camera, enhancing zoom. However, the wide and ultra-wide lenses will drop to 48MP and 13MP, respectively. The Pro models will retain the 50MP/48MP/48MP setup, with the Pro Fold getting a camera sensor upgrade to 50MP for the main sensor. AI Features and New Tools: AI will be a central feature of the Pixel 10, with enhanced tools for image and video editing, as well as real-time language translation. The new Android XR augmented reality platform could also make an appearance. Pricing and Availability: The Pixel 10 is expected to start at $799, with the Pixel 10 Pro priced at $999. The Pro XL will cost around $1,200, and the Pixel 10 Pro Fold may drop to $1,599 from its predecessor's $1,799 price tag. Colours: Leaks suggest the Pixel 10 will come in Obsidian (black), Iris (purple), Limoncello (yellow), and Blue for the base model, with the Pro models offering Obsidian, Green, Sterling (grey), and Porcelain (white). As Google prepares for the Pixel 10's launch in August, it's clear the company is focusing on AI, camera upgrades, and competitive pricing. The Pixel 10 could be one of 2025's most exciting smartphones. Google Pixel 10 images 😍 Specs : ✅ Tensor G5 (TSMC 3nm) , Mediatek T900 modem ✅ IMG GPU, custom ISP ✅ 50MP GN8 OIS + 13MP IMX712m UW + 11MP 3J1 5x telephoto 🤳 11MP 3J1 (Basically Pixel 9a 📸 with telephoto) ✅ 6.3" FHD+ 120Hz flat oled ✅ IP68, Android 16 — Debayan Roy (Gadgetsdata) (@Gadgetsdata) May 25, 2025
Forbes
02-05-2025
- Entertainment
- Forbes
What's The Best Cinema Format For ‘Thunderbolts*'?
As inevitable as the sun rising, another MCU Marvel movie is never too far away, and as of this weekend, the latest instalment, Thunderbolts*, has arrived in theaters. As you would expect for a major studio release, there's a wide variety of formats to choose from, which brings us to the perennial question: which format is best to watch it in? While 'superhero fatigue' has been much discussed, this group of cynical, reluctant, rag-tag team seems to represent the zeitgeist of our current fractured world. Ostensibly an ensemble cast, Florence Pugh is effectively the lead, and she does a great job. It amazes me how effortlessly she brings roles such as this to life, as much as more naturalistic fare. For all the sound and fury of its action, Thunderbolts* is essentially a movie about navigating mental health struggles, and for that I admire it — it's good to see an MCU movie that, amongst all the smashy-crashy, attempts to be about something human. Director Jake Schreier and cinematographer Andrew Droz Palermo shot the movie using a new Arri Alexa 265 digital camera. Like its predecessor, the Alexa 65, this is a digital camera featuring a 6.5K sensor. Where it differs is its native aspect ratio of 2.12:1, close to that of 5-perf 70mm film. It's also three times smaller than the 65 and, thanks to a new sensor, offers greater dynamic range and improved image quality with better contrast, reduced noise, and richer, more defined colors. As an IMAX-certified camera, it's no surprise that the movie has been framed with IMAX in mind, and for much of its running time, primarily the action sequences, it expands to the 1.90:1 aspect ratio of digital IMAX theatres. This is used well and makes it the default way to see the film. There are caveats, however. I would always recommend an IMAX Laser theatre over one that uses Xenon lamps, as laser projectors provide a brighter and clearer picture. In some early showings, Thunderbolts* is even being presented in IMAX 3D — a rare occurrence these days. I am one of the few who still are willing to champion the format, though with the caveat that that's only if you can see it in IMAX Laser, thanks to the increased brightness, which normally compensates for the light loss from the 3D glasses. However, having just returned from an IMAX Laser 3D showing, I have to say that the image was the dimmest 3D IMAX presentation I've seen. Why this is, I'm not certain, but I don't think it's the fault of SDFX, the effects studio that did the 3D conversion. I suspect rather it's the choice of Panavision lenses, which are known to give a more vintage look and the general desaturated color grading. While this fits the tone, I don't think it serves the 3D well. Some elements work, such as snow forest scenes, establishing shots of New York, and the falling from skyscraper sections. But there are no 3D frame-breaks or other creative uses of 3D that I noticed, and while I do love the true depth it provides, overall, for Thunderbolts*.I would recommend a 2D presentation. On the audio side, the IMAX 12-channel mix was as solid and immersive as I've come to expect. A great alternative to IMAX is always Dolby Cinema. The film will be shown in a scope aspect ratio of 2.39:1, which, if the Dolby screen is 1.85:1, will mean black bars top and bottom. But the strong black levels and high contrast of the Dolby Vision format will suit the movie's restrained color palette, while the pinpoint precision of the Dolby Atmos surround audio will draw you in. If there isn't an IMAX or Dolby screen near you, then seek out a premium larger format screen. There doesn't appear to be an HDR by Barco version of the film, but the regular SDR projector is at least 4K, and you'll get the benefits of a large screen, Dolby Atmos and comfier seats. Each chain has a different name for what is, essentially, the same thing, and in the USA, you'll find these branded as Cinemark XD, Cineplex UltraAVX, Xtreme Xscape, Prime at AMC and Regal RPX. In the UK, the brands include Odeon iSense and Cineworld Superscreen. You'll also find Thunderbolts* in 4DX, which involves seats that move in time with the action on screen and kick you in the back, along with air blasts, jets of water, and flashing lights. It's not for the faint of heart, and how well it works depends on the movie. I chose to see the rerelease of Star Wars Episode III: Revenge of the Sith in 4DX and was delighted with how well it worked – it certainly gave me an experience I couldn't replicate at home. However, with Thunderbolts* it's paired with 3D and, with my IMAX 3D experience as reference, I would not expect this to fare better here. The final two non-standard formats will be ICE, which offers images from the movie showing on panels running down the sides of the theater. I've never experienced it, so I can't vouch for it, but you can find locations worldwide on its website. ScreenX has additional footage specially formatted for larger screens that run down the sides of the theater to give you a more wrap-around experience. This worked tremendously for the racing movie Gran Turismo, but less so for every other movie I've tried, so I tend to avoid this. The last format will be standard 2D, in 5.1 sound with a 1080p projector. Fine if you must, and it will be the budget option, but it's not going to provide the immersiveness that this effects-heavy and emotion-heavy movie deserves.
Yahoo
14-04-2025
- Entertainment
- Yahoo
Festival Favorites ‘The Python Hunt' and ‘Omaha' Pick Up More Wins at 2025 Miami Film Festival
It's always interesting to see which films are able to keep up their film festival momentum after buzzy premieres at early-in-the-year fests like Sundance and SXSW. Two to keep an eye on? Cole Webley's Sundance premiere 'Omaha' and Xander Robin's SXSW crowdpleaser 'The Python Hunt,' both of which just notched new wins over the weekend at the 2025 Miami Film Festival. 'The Python Hunt' picked up the Made in MIA Feature Film Award, sponsored by Panavision, which is designed to honor films 'of any genre that prominently feature South Florida in their story, setting, and filming location, and best utilize South Florida's story and theme for universal resonance.' Robin's film, a documentary about snake-hunters in the Everglades, sure sounds like it fits the bill. More from IndieWire Johnny Depp Is Unrecognizable with Beard and Blue Eyes in 'Day Drinker' First Look Cate Blanchett Says She's 'Serious About Giving Up Acting' Because There Are 'a Lot of Things I Want to Do' And Webley's deep-feeling John Magaro-starring family drama, 'Omaha,' earned the Jordan Ressler First Feature Award, created by the South Florida family of the late Jordan Ressler and sponsored by the Jordan Ressler Charitable Fund, which is presented to the jury-selected best film made by a filmmaker making a feature narrative film debut. The festival's top jury prize, the $15,000 MARIMBAS Award, went to Maryse Legagneur's 'The Last Meal.' The award is an international competition for the jury-selected narrative feature film that best exemplifies richness and resonance for cinema's future. This year's festival, the 42nd edition, took place April 3 – 13 in Miami. Other highlights included honors for Mark Duplass, Paul Feig, Melanie Lynskey, Roger Ross Williams, and Billy Zane, plus anniversary specials include 'Picnic at Hanging Rock,' 'Center Stage,' and 'Pride & Prejudice.' New films of note included Feig's own 'Another Simple Favor' and 'The Wedding Banquet.' Additional winners include, with all language provided by the festival: The Audience Feature Film Award went to 'Espina' directed by Daniel Poler, which had its World Premiere at the Festival. First runner-up was 'Adiós Cuba' directed by Rolando Díaz, and second runner-up went to 'Magic Hour' directed by Jacqueline Christy. The Documentary Achievement Award ($2,000) went to 'Checkpoint Zoo,' directed by Joshua Zeman. The Audience Documentary Film Award went to 'Selena y Los Dinos' directed by Isabel Castro. First runner up was 'Chirino' directed by Jorge Soliño, and second runner-up was 'The Librarians' directed by Kim Synder. Made in MIA Short Film Award ($5,000) went to 'Little Haiti, Miami, USA,' directed by XF Serrano. Miami International Short Film Award ($4,000) went to 'Gender Reveal,' directed by Mo Matton. The award is given to a jury-selected short film (30 min. or less) of any genre from anywhere in the world. Short Documentary Film Award ($1,000), presented by the University of Miami's School of Communication, went to 'View from the Floor,' directed by Megan Griffiths & Mindie Lind. Florida Cinemaslam Award ($1,000), part of the Festival's annual Florida college student film competition, went to 'Dirt Therapy,' directed by Sebastian Valencia. The Reel South Short Film Award ($2,000) went to 'George V.,' directed by Dennis Scholl & Dia Kontaxis. The Audience Short Film Award went to the drama 'Night Train Last Stop' directed by Gina Margillo. First runner-up was 'Test of Time: The Big Cheese' directed by Julian Alicea, and second runner-up 'Confession of a Jumbotron Addict' directed by Mickey Duzyj. Best of IndieWire Guillermo del Toro's Favorite Movies: 56 Films the Director Wants You to See 'Song of the South': 14 Things to Know About Disney's Most Controversial Movie The 55 Best LGBTQ Movies and TV Shows Streaming on Netflix Right Now
