- Maryann Brandon and Mary Jo Markey on Cutting Star Trek: Into Darkness
- Q&A: Ntropic’s Nate Robinson on Marco Brambilla’s Creation [Megaplex] 3D
- Autodesk Upgrades Smoke 2013 with Blackmagic IO
- Red Giant’s BulletProof Enters Free Public Beta
- Haunting Melissa Is a Horror Show Crafted for iPad and iPhone
Category Archives: Feature
602 articles found
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.
Most of the images were captured in Super 35, many effects plates were captured on 65mm, and numerous flashback scenes were lent a haunting, abstract quality through the use of cross-processed Super 16 reversal film.
We caught up with Cohen, nominated for an Academy, BAFTA and ASC award for his principal photography on the celebrated film, to find out how under Hooper's direction during a winter shoot in London last year he captured the project's nuanced and equally celebrated performances and how 35 mm, the right lenses and a few well-chosen rigs and locations helped him do it.
As part of the three-man dubbing team on Salt, Scott Millan was the music man, charged with weaving the compositions of James Newton Howard seamlessly into a narrative that was driven by music, balancing the needs of the score with the demands already placed on the audience by dialogue and special-effects sound work. On the eve of the Oscars, Film & Video spoke with Millan about getting his start in TV, working with director Phillip Noyce, and why this movie should be played loud.