Category Archives: Feature
606 articles found
Mobile production trucks for sports and other live events are common enough. But as tapeless workflows bring more VFX and post services on set or nearby, a newer breed of semi-permanent mobile lab is emerging. Typically these on- or near-set outposts are built-to-order satellites of a post facility or editorial house hired for the project. The latest version, pumped up on unheard-of mobile compute power, 18 wheels and five axles, is ready for hire and a drive to a film or television location near you. The
Sony is set to display at NAB a suite of targeted, feature-rich cameras based on its latest CMOS imaging technology. New HDCAM-SR decks and OLED monitors complete this high-res picture. Will the new gear fill a workflow void? Plus, an update on tape shortages in the wake of Sony's Sendai plant closure and how Sony employees are contributing to the relief effort in Japan.
If you want big branding, you want to see your spot on the big screen. And if you really want to make an impression, you want that spot to show in stereo 3D in front of 3D movies. The BMW-owned Mini brand employed that strategy for a large-scale cinema spot using ultra-high-speed footage to show a heavy monster truck gliding through the air above one each of the four different cars in Mini's product line. Mini says it took a crew of 120, including the stunt driver, to make the shoot happen. That figure includes stereo-3D experts Joshua Ferrazzano and David Shafei, whose World War Seven production company was brought in to figure out how to make stereo 3D happen on time and on budget. We talked to them about prepping for the day, shooting with Phantoms and Reds, and monitoring super-slow-motion footage in stereo.
In 1994, Pamela Martin edited director David O. Russell's first film, Spanking the Monkey, which was also her first feature as a lead editor. She got her start assisting Tim Squyres and Ang Lee for Lee's first two features, Pushing Hands and The Wedding Banquet, only a few years earlier. She has since edited a string of sharp, dialogue-driven comedies with stellar ensemble casts, notably Little Miss Sunshine. In a slight shift in genre but a return to her roots, she and Russell joined forces for this year's multi-nominated ensemble drama, The Fighter.
The visual effects Oscar nomination for Iron Man 2 is Ben Snow’s fourth. He previously received nominations for Iron Man, Star Wars Episode II – Attack of the Clones, and Pearl Harbor. A member of the Academy since 2007, Snow has worked as a visual effects supervisor at Industrial Light & Magic on seven feature films and in various roles on 17.
Historical recreations are expensive. That's why director Robert Child determined that he would shoot footage for The Wereth 11 one little piece at a time - he was getting elements in the can, not full scene tableaux. StudioDaily asked Frederic Lumiere of Lumiere Media to describe the challenge of editing a project that's made up of tiny bits and pieces, rather than coherent shots and scenes.