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Category Archives: Project/Case study
820 articles found
World War 7 Brings 3D Glasses to the Rock Concert
On Friday, February 3, indie rock band Saint Motel will perform at the Soho House in West Hollywood, accompanied by what World War 7 (WW7) Creative Director Josh Ferrazzano describes as "a multimedia, stereoscopic, psychedelic spectacular."
Editor Lisa Bromwell on Cutting The Surrogate
The Surrogate was shot on the Red One MX and edited on a software-only Avid Media Composer system by Lisa Bromwell, an Avid veteran who took on the film as a rare unpaid gig because she believed in the material. When we spoke to her this week, she had just returned from the film's world premiere in the cavernous Eccles Theater in Park City and was already back at work cutting two episodes of Criminal Minds, but she said The Surrogate represented a satisfying departure from her normal mix of editorial jobs.
How They Did It: The Art of Flight Opening Titles
Two years in the making, The Art of Flight is a sports-action film that takes audiences on an epic snowboarding journey.
Director Frederick Wiseman on Burlesque Doc Crazy Horse
Wiseman may be best known as a pioneer of the cinema và©rità© school of documentary, which minimizes the director's presence, but here, he comes close to Busby Berkeley territory, as he acknowledges in the following interview. Working for the first time in HD, he shows new possibilities in the medium, asCrazy Horse matches the color and beauty of 35mm.
Director Lynne Ramsay on Photography, Filming Novels, and Europeans in the U.S.
Lynne Ramsay's We Need to Talk About Kevin is an unconventional look at American violence. The first 20 minutes of the film are a radically nightmarish montage. While the rest of We Need to Talk About Kevin is somewhat more conventional, it never loses its dreamlike feel, enhanced by a combination of 35mm and Canon 5D Mark II DSLR video.
Editing Extremely Loud and Incredibly Close
Extremely Loud and Incredibly Close deals with one of the most fraught subjects that can be tackled by a filmmaker - the September 11 attacks on the World Trade Center. Set in New York City between 2001 and 2003, the film sees the events through the eyes of a child who lived them. The subject matter complicated things for the editorial team, which was tasked not just with handling the material with appropriate sensitivity, but with organizing a significant amount of VFX work depicting the New York City of 10 years ago, all with an end-of-year release date looming ever closer. Film & Video spoke with associate editor David A. Smith about the special challenges of the project.
How They Did It: Building a Skyscraper and Setting Type for a Movie Trailer
Hollywood design agency The Ether created a new visual of the tower for Tower Heist's trailer, using 3D graphics and bold typography to emphasize the building's importance in the film.
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.