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Category Archives: Project/Case study
823 articles found
The Old Dark House: Creating the Visuals for American Horror Story
The premise behind American Horror Story is that the troubled new owners of a creepy, old house can't escape the residual evil left by grisly events that previously unfolded in the residence. Cinematographer Michael Goi, ASC says, "It reminds me of what Roger Corman said about The Fall of the House of Usher (1960), when he was asked ‘Where's the monster?' He said, ‘The house is the monster.'"
Illumination Mac Guff Rides Shotgun for Dr. Seuss' The Lorax and Despicable Me 2
Since the development of its breakout 2010 hit, Despicable Me, Illumination Entertainment and its Paris-based partner, Illumination Mac Guff, have been using Shotgun's web-based, open-API approach to build out and manage an animation pipeline of more than 300 artists for the soon-to-be released Dr. Seuss' The Lorax.
How Hugo's Look Was Set in a DI Theater Near the Shoot
Hugo is a loving homage to the early craft of filmmaking, but it is the product of very contemporary techniques. It's among the first feature films to be shot with the Arri Alexa camera. It was the first stereo-3D production for Scorsese and cinematographer Robert Richardson. And it embraced a trend in workflow that is seeing significant amounts of post-production work actually being performed near the set.
Cinematographer Tim Orr on Shooting The Sitter
The early collaborations between cinematographer Tim Orr and director David Gordon Green were poetic, independent dramas with minimal budgets. More recently, they've made a successful string of studio comedies. "We try to have fun with it while breaking conventions," Orr says.
Building Massive Environments for Immortals
The virtual environment had to be detailed in all the right places, so that it would stand up to camera scrutiny in shots where it took up the majority of the frame, simple enough on the whole to allow quick fixes during production, and massive enough to make sense as the camera pulls back to a literal god's-eye view of earthly affairs.
Sony's F3 Makes an Early Appearance on The Ghost of Goodnight Lane
Because he was shooting in tight spaces on a real-world location, Bijan wanted to use gear that could be crammed into a small area. First, he tested the Canon 5D. He also considered the Red One. But workflow was a consideration, and Bijan wanted to go direct to edit. Those considerations led him to the Sony PMW-F3.
Codex Enters the Ring with Real Steel
Real Steel, directed by Shawn Levy and released by DreamWorks, imagines a future world where powerful robots replace human athletes in the boxing ring. While no robots assisted in the making of the movie, there was a futuristic element to the production - Real Steel pioneered the use of gear and technology from Codex Digital for a feature-film workflow.
Odd Machine Hammers Home a "Bad-Ass" Promo for Wilton Tools
For a recent spot featuring the Wilton BASH (the acronym stands for "Bad-Ass Sledge Hammer"), Odd Machine brought some Hollywood-studio-style showmanship and special effects to bear on what could have been just another low-budget promotional piece.
Set Extensions and Sci-fi Hellscapes: Luma Pictures' Invisible VFX for In Time
The new science-fiction film In Time, shot by cinematographer Roger Deakins for writer/director Andrew Niccol, represents the fifth time invisible VFX experts Luma Pictures worked with Deakins.
MTI Film Employs JPEG2000 over IP for TNT's Dallas
For dailies screenings and color-correction on TNT's Dallas, a relaunch of the classic TV franchise that's slated to debut next summer, MTI Film in Los Angeles is turning to IP networks to move footage between Texas and Hollywood in real time. Producers in Dallas, Texas, will screen and approve dailies using MTI's Remote Control Dailies, and MTI staff colorists will correct the footage in L.A.