Earlier this week I alerted you to the LA Opera’s first ever costume sale and now I bring you this, just in time for Halloween costume shopping.

The Movie Wardrobe Sale Takes Place at the Hollywood Roosevelt Hotel - Second Home to Hot Stars Like Us

There is going to be another amazing sale this weekend, the Hollywood Studio Collection’s wardrobe sale. A portion of the proceeds from this sale will benefit Childhelp, one of the world’s largest organizations that aids victims of child abuse and neglect.

Thousands of wardrobe pieces from various movie sets will be sold during the three-day event that consists of both vintage and contemporary clothing, shoes, décor, accessories and props that have been used in some of today and yesterday’s most influential blockbuster films. The sample sale will offer rare and one-of-a-kind items that would normally be sold for thousands of dollars, for as little as $10.

The sale takes place at the Hollywood Roosevelt Hotel this Saturday, October 10 through Monday, October 12 in the Oscar Room on the second level of the hotel.

Admission is only $5. For more information, visit www.TheHollywoodStudioCollection.com or call (818) 812-6068.

The second annual ID Film Festival, dedicated to contemporary digital films that explore and celebrate identity within the diverse Asian/Pacific Islander community, will present an international and local lineup of films this coming week/end, October 1-3 at the National Center for the Preservation of Democracy in Little Tokyo, Los Angeles.

The festival will premiere several Hong Kong films, in addition to showcasing Asian American films from the “Class of 1997″: Michael Aki and Eric Nakamura’s Sunsets, Rea Tajiri’s Strawberry Fields, Chris Chan Lee’s Yellow, Quentin Lee and Justin Lin’s Shopping For Fangs — all groundbreaking works in Asian American cinema.

But what excites me is the really special round table taking place on closing night (Saturday, October 3, 2009) with Michael Aki, Chris Chan Lee, Quentin Lee, Justin Lin, Eric Nakamura and Rea Tajiri at 9:30PM after the free 8PM screening of Shopping For Fangs. The round table will be moderated by Giant Robot’s Martin Wong. (The round table is sponsored by Giant Robot and You Offend Me You Offend My Family.) And if that weren’t enough, there’s a free afterparty with sake provided by Sho Chiku Bai.

But don’t wait ’til closing night to check things out! There’s a bunch of other cool stuff during the film festival, so take a look at their entire schedule online and find out how to order tickets in advance.

Hollywood & Highland has just announced a new promotion offering diners free movie tickets to the Mann’s Theatre with any purchase of a meal at participating restaurants.  Just show same day receipts totaling $30 or more at the Visitor’s Information Center on Level I and you’ll get a pair of tickets!  (There is a one pair per person, per receipt, per day limit.)

The promotion runs through February 15th while supplies last.  For more information as well as a list of restaurants involved visit their website here.

Last Friday I finally got around to seeing There Will Be Blood over at the Arclight Cinemas in Hollywood. I wanted to see the film under the best circumstances possible with particular consideration paid to the picture quality. TWBB was in fact shot and posted with a minimum of digital enhancement, most notably where the final color-timing is concerned. (You can read all about it in January’s edition of American Cinematographer Magazine).

Many movies these days go through what is called a digital intermediate. This means that the movie is shot on film, scanned into a computer at two or four thousand lines of resolution, digitally enhanced or altered (the intermediate), and then captured back to film using a laser camera. The “old” way of doing things was to shoot the film on film, then using a series of red, blue, and green printer lights, a colorist would adjust the luminance and chrominance values of the picture, then print the results from the negative directly to film (for more information, read Richard Crudo, ASC’s “A Call for Digital Printer Lights”).

This analogue method of coloring tends to work more within the parameters of a particular film stock’s unique “look”, unlike the DI process which can extend the colorist’s reach beyond the boundaries of the original negative’s capabilities.

That being said, TWBB is a gorgeous film. Having now seen it I can see why Elswit won the Oscar. Each scene has its own look and speaks with its own visual language. I was originally going to see it at the Dome on Sunset when it was playing there a few weeks ago, because as far as I knew the Dome had the best picture and sound in Hollywood. I asked a friend at work if he wanted to come along. He shook his head.

“If you’re going to see that movie, then don’t see it at the Dome,” he replied. “The Dome sucks.”

“Why not?” I asked.

“Because every movie I’ve seen there looks like shit,” he stated.

 Find out why after the jump…

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