Dante Spinotti on Public Enemies

  
Signalling the end of an era — and paying very little mind to the repeated, plaintive refrain of a certain Paul Simon song — Kodak announced this week that it will stop making Kodachrome color film, introduced in 1935, later this year. SHOULD YOU CARE? YES. Sure, there are nostalgic reasons to mourn the passage of special technology like Kodachrome film, with its unique look. But what's more important is to take a hard look at what the death of Kodachrome symbolizes. It doesn't matter how beloved or iconic a technology is. When the market for it shrivels up, the vendors who make that technology viable will abandon it rather than spend excess money to support what is, on the balance sheets, an obsolete product. After all, even if you stock up on Kodachrome this year, who's to say how long there will still be any kind of infrastructure around to help you process it? What's more important is what a move like this symbolizes in the larger picture — as digital acquisition continues to gain ground, slowly creeping up on motion-picture film, it's a good idea for even celluloid purists to make sure they are prepared for the next evolutionary step. Civilization (MEGAPLEX) video installation by Marco Brambilla
Civilization (MEGAPLEX) video installation by Marco Brambilla

Warning: some nudity.
Commissioned by the Standard Hotel in New York city for its elevators, this video installation created by artist Marco Brambilla is designed to illustrate the trip to Heaven for passengers going up, or to Hell for passengers going down. Dense with layers, simultaneously vulgar and elegant, it's one heck of a ride. Glossy has photos of the installation and a Q&A with the artist.

 
 
ILM Builds the Bots for IMAX Shots

ILM Builds the Bots for IMAX Shots

Devastator is the biggest model ILM has built in its 30 years of model-making. "Getting our pipeline to handle IMAX has been quite a challenge," says associate VFX supervisor Jeff White.
Field-Testing the HPX300

Field-Testing the HPX300

When director Bryan Gunnar Cole and cinematographer Peter Nelson headed to North Florida to shoot wildlife, the HPX300 P2 camcorder hit a sweet spot.
Lionsgate D3 Dailies

Mad Men, Crash Ditch DVD Dailies

Lionsgate has moved from distributing TV episodic dailies mainly on DVD to an all-streaming system.
Fast and Furious VFX

Director Duncan Jones on Low-Budget Moon

Duncan Jones’ Moon, opening June 12 in New York and Los Angeles, is an unusual breed of science-fiction film. It pays homage to a host of science-fiction precursors but carries an emotional charge all its own.
CineGear 2009

CineGear 2009 is All About Red and 3D

Although it didn't match last year's Red frenzy, CineGear 2009 still focused on gear for the Red camera. And, in the wake of Up’s boffo box office, 3D rigs were still in evidence.
Jim Flynn

Audio Guru Talks 26 Years of Gear

F&V caught up with Jim Flynn (of Jim Flynn Rentals) recently to talk about — what else? — audio gear and how it's being used inside and outside the studio.

 
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What was the BOB BARKER MICROPHONE? What's it like to provide BIG VFX for a J.J. ABRAMS BLOCKBUSTER? And what's it like to SHOOT SERIOUS SCIENCE FICTION ON A BUDGET?

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Field-Testing the Panasonic HPX300
For director Bryan Gunnar Cole and cinematographer Peter Nelson, the new AG-HPX300 P2 camcorder hit a sweet spot.


Film Post Production manager - Emerson College - Boston, MA Emerson College
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