LFM’s Jason Apuzzo @ The Huffington Post: When Aliens Arrived On Oscar Weekend: UFO Diary Recreates the Battle of Los Angeles

[The post below was featured today at The Huffington Post.]

By Jason Apuzzo. For Los Angeles, there’ll never been an Oscar weekend like the one that took place in 1942 – the year a flying saucer nearly crashed the party.

This week marks the anniversary of The Battle of Los Angeles, also known as The Great LA Air Raid, one of the most mysterious incidents of World War II – and one of America’s biggest UFO sightings, taking place a full five years before Roswell.

It’s a story I couldn’t resist turning into a new sci-fi short film called UFO Diary, which debuted this week on Vimeo to mark today’s anniversary of The Battle of Los Angeles.

So what makes the Battle of LA so famous?

In the early morning hours of February 25th, 1942, wartime Los Angeles flew into a panic as an ominous, saucer-like object flew over the city, touching off a massive anti-aircraft barrage. Despite the intense barrage, however, no aircraft wreckage was ever recovered – sparking one of America’s first major UFO controversies.

Indeed, once the smoke had cleared, no one really knew what had been seen in the sky or on radar. Conflicting accounts of the incident from the War and Navy Departments didn’t help matters – leading to accusations of a cover-up.

As if to confirm public fears of extraterrestrial attack, a notorious LA Times photograph (see below) emerged from the incident showing a saucer-like object hovering over the city. It’s one of the eeriest images in UFO history.

2016-02-25-1456426855-818999-BattleLAphotosmall.jpg
An LA Times photograph of the Great LA Air Raid.

Over 100,000 Angelenos witnessed the incident, yet reports on what people saw that night varied – from Japanese aircraft, to a blimp, to stray American fighter planes, to a “lighted kite.” One eyewitness even described seeing an enormous flying “lozenge,” while an LA Times reporter claimed to have seen slow-moving “objects in the sky … caught in the center of the lights like the hub of a bicycle wheel surrounded by gleaming spokes.”

We still don’t really know what people were seeing that night, because the government has never provided us with an adequate explanation for the incident. Probably because they themselves still don’t know.

Since making UFO Diary, I’ve been asked by UFO enthusiasts what I think was really hovering in LA’s skies that night. The answer is that I don’t know – although I doubt it was a lozenge. Nor do I suspect that Orson Welles or Howard Hughes were involved. There have been a variety of competing explanations of what happened – most centering around weather balloons and barrage balloons – but none of them makes complete sense. The truth is that we may never know.

That’s why, with the help of VFX veterans from ILM and Weta Digital, we decided in UFO Diary to depict the incident as an encounter with the unknown. Continue reading LFM’s Jason Apuzzo @ The Huffington Post: When Aliens Arrived On Oscar Weekend: UFO Diary Recreates the Battle of Los Angeles

UFO Diary Premieres Today on Vimeo

I’m delighted to announce the online premiere of UFO Diary today on Vimeo. Our official press release is below. I hope you enjoy the film!

UFO DIARY, EPIC SCI-FI SHORT FILM, DEBUTS ON VIMEO, BRINGS WWII LA AIR RAID TO LIFE

Los Angeles, CA (February 22, 2016) The epic WWII sci-fi short film UFO DIARY premieres on Vimeo today, Monday, Feb. 22nd, 2016, in advance of the anniversary of the Great Los Angeles Air Raid. Highly anticipated, UFO DIARY is the first sci-fi film depicting the Feb. 25th, 1942 air raid – one of the most famous UFO incidents in history. Featuring stunning VFX by artists from ILM and Weta Digital, UFO DIARY brings a historical controversy to life, and was recently featured in American Cinematographer.

LOGLINE: In UFO DIARY, two Women’s Army Corps officers in the early days of WWII fight off an alien invasion of Los Angeles, becoming the unlikely heroines of one of the most famous UFO incidents in history.

BACKGROUND: Directed by Folio Eddie Award-winner Jason Apuzzo and edited by Emmy Award-winner Mitch Danton, UFO DIARY recreates the Great LA Air Raid of WWII. In the early morning hours of Feb. 25th, 1942, wartime Los Angeles flew into a panic when an ominous, saucer-like object flew over the city – touching off a massive anti-aircraft barrage. Over 100,000 Angelenos witnessed the incident, and the Army fired over 1400 shells into the night sky. Despite the intense barrage, however, no aircraft wreckage was ever recovered – inspiring America’s first major UFO controversy, a full five years before Roswell.

Continue reading UFO Diary Premieres Today on Vimeo

LFM’s Jason Apuzzo Discusses the Making of UFO Diary in American Cinematographer

UFO Diary still

By Jason Apuzzo. The editors at American Cinematographer kindly invited me to write about the making of my forthcoming film, UFO Diary, for the January print edition of American Cinematographer magazine, currently on newsstands.  My thanks to editor Stephen Pizzello and the AC team for the opportunity, and to all of the cast and crew members who participated in the article – most especially my filmmaking partner Govindini Murty.

For more updates and details on UFO Diary, please visit UFO Diary‘s Facebook page.

Posted on January 8th, 2016 at 7:08pm.

LFM’s Jason Apuzzo Receives 2015 Folio Eddie Award

Big Trail header

Earlier this week, LFM’s Jason Apuzzo was honored with a 2015 Folio Eddie Award for Best Single Article (Media/Entertainment) for his article Visions of Grandeur: The 85th Anniversary of The Big Trail.  The article appeared in the April 2015 edition of American Cinematographer.  American Cinematographer also received an award for Best Full Issue for its Sept. 2014 issue (featuring Guardians of the Galaxy on the cover) and earned an additional honorable mention for its Oct. 2014 Gordon Willis tribute issue.

Jason wishes to thank the team at Folio, and also thank and congratulate AC editor-in-chief and publisher Stephen Pizzello, managing editor Jon Witmer, and the entire AC team.

Posted on October 23rd, 2015 at 11:38pm.

LFM’s Jason Apuzzo Receives 2015 Folio Eddie Award Nomination

LFM’s Jason Apuzzo recently received a 2015 Folio Eddie Award nomination for Best Single Article for his article Visions of Grandeur: The 85th Anniversary of The Big Trail, which appeared in the April 2015 edition of American CinematographerAmerican Cinematographer received a total of five Folio Eddie Award nominations this year, two in the category of Best Full Issue and three in the category of Best Single Article.

The winners will be announced Oct. 19th at the Folio Eddie & Ozzie Awards Luncheon in New York. Jason wishes to thank the team at Folio, and also thank and congratulate AC editor-in-chief and publisher Stephen Pizzello, managing editor Jon Witmer (also a fellow nominee), and the entire AC team.

Posted on October 16th, 2015 at 2:25pm.

LFM’s Jason Apuzzo in American Cinematographer: The Dawn of Technicolor

[The article below appears in the on-line edition of July’s American Cinematographer magazine.]

By Jason Apuzzo. Over the course of its storied first century, Technicolor came to represent more than a motion-picture technology company. Marked by a vividness of color and an exuberant style, Technicolor became synonymous with an entire era of Hollywood filmmaking, the golden age of studio production from the late 1930s to the early 1950s. This era did not emerge overnight, however, and a new book by James Layton and David Pierce, The Dawn of Technicolor 1915-1935, published by George Eastman House to coincide with Technicolor’s 100th anniversary, documents the company’s earlier, groundbreaking “two-color” era.

From Technicolor's two-color "The Black Pirate" (1926).

It was during this formative period that Technicolor based its technology on the innovative use of red and green filters and dyes — colors chosen to prioritize accurate skin tone and foliage hues. Two-color Technicolor was achieved by way of a beam-splitting prism behind the camera lens that sent light through red and green filters, creating two separate red and green color records on a single strip of black-and-white film. Separate prints of these two color records (with their silver removed) were later cemented together in the final printing process, with red and green dyes then added; this was a complex and error-prone process that later gave way to a two-color “dye-transfer” printing process, in which the color dyes were pressed onto a single piece of film, one color at a time.

As Layton and Pierce’s book reveals, this early two-color system, which was unable to properly reproduce blues, purples or yellows, was eventually superseded by Technicolor’s more famous, three-color process. Yet surviving motion pictures from Technicolor’s two-color period, such as Douglas Fairbanks’ The Black Pirate (1926) and the color sequences inBen-Hur (1925), reveal a subtlety and understated elegance unique to the technology.

TO READ THE REMAINDER OF THIS ARTICLE, PLEASE VISIT AMERICAN CINEMATOGRAPHER.

Posted on July 10th, 2015 at 5:02pm.