 |
 |
| 06|26|2008 |
By Bryant Frazer
Right now, Stereoscope is a post and DI facility with 3D capabilities, but in the near future Cummins plans to have a full-bore production and post company running live-action 3D movies through the pipeline.... »
|
|
|
| 06|26|2008 |
By Bryant Frazer
Production sound mixer mark Ulano won an Oscar for his work on Titanic. F&V asked him about the latest in audio gear and got his thoughts on the potential of the coming digital broadcast transition to wreak havoc on diversity wireless-mic systems.... »
|
|
|
| 04|24|2008 |
By Bryant Frazer
James Haygood got his big break back in the mid-1980s, when he connected with a young music-video director named David Fincher. More recently, he just worked as co-editor (with Spike Jonze regular Eric Zumbrunnen) on Where the Wild Things Are, and took up residence at Union in Santa Monica, CA, where he just finished spots for PlayStation MLB and Range Rover. Read about his career path, storytelling in 30 seconds (or less), and what he really thinks of Final Cut Pro.... »
|
|
|
| 03|13|2008 |
By Barbara Robertson
For Tim Alexander, visual effects supervisor at ILM, The Spiderwick Chronicles marked a career high – the biggest and most complicated film he has supervised so far, with the largest crew, the most creature animation, and a director, Mark Waters, who had not worked on a visual effects film before.... »
|
|
|
| 10|24|2007 |
By Bryant Frazer
Filmmaker Bob Landis may have a home office, but his soundstage is Yellowstone National Park. More than 300 days out of every year, he takes his trusty Sony HDW-730 camcorder out on the road, driving into Yellowstone and following the wildlife around in search of beautiful and revelatory instances of animal behavior. ... »
|
|
|
| 09|27|2007 |
By Bryant Frazer
The new ingredient in editor Stuart Bass's editorial stew is Avid's ScriptSync feature, introduced this spring at NAB, which automatically matches camera takes to lines of dialogue in the show's script. ... »
|
|
|
| 07|26|2007 |
By Barbara Robertson
Veteran VFX Supervisor Scott Farrar of ILM (center) with ILM's Russell Early (left) and Transformers D.P. Mitch Amundsen on set in Detroit. Farrar says Transformers is the film where CG robots became more "real" than anything that could be physically built.... »
|
|
|
| 05|10|2007 |
By Bryant Frazer
After 15 years in the business of cutting episodic TV, editor Farrel Levy has figured out a thing or two about getting inside someone's head. That's her job — making sure an audience understands not just the narrative, but the psychology behind the story. ... »
|
|
|
| 05|10|2007 |
By Bryant Frazer
Chris Keighly, who joined Post Logic Studios last year as a telecine assistant after cutting his post teeth at Technicolor Creative Services, has been named technical supervisor of Post Logic's New York facility. The job gives him oversight over all projects completed at Post Logic in New York — mainly commercial spots that take advantage of color-correction and conform for HD — and charges him with make sure the post and DI pipelines are up to snuff.... »
|
|
|
| 04|10|2007 |
By Bryant Frazer
Known for what Adweek describes as "saucy advertising," online clothing retailer Bluefly.com nudged at the boundaries again this year with a spot directed by Tony Goldwyn and shot by Janusz Kaminski.... »
|
|
|
|
|
 |
.gif)
