 |
 |
| 05|26|2010 |
By Bryant Frazer
As an early user of CineForm’s Neo3D editing workflow, Don Wilson was one of the guinea pigs who helped CineForm make Apple’s Final Cut Pro stereo-friendly. F&V talked to him about his career, his stereo workflow, and why he thinks cutting concerts in 3D is actually easier.... »
|
|
|
| 05|14|2010 |
By Bryant Frazer
Barry Sandrew's Legend 3D started as a colorization company, doing work for most of the major Hollywood studios starting in the late 1980s and then, with updated processes for the digital era, into the 2000s. Five years ago, Sandrew and partner Greg Passmore began anticipating an explosion of interest in stereo 3D, largely tied to the release of Avatar. They began the process of adapting their colorization pipeline — which has handled as many as 135 titles over the course of seven years — to handle 3D conversions of 2D footage.... »
|
|
|
| 02|11|2010 |
By Bryant Frazer
And now for something completely different: the co-editor of Children of Men heads to Madrid to tackle an animated feature.... »
|
|
|
| 10|16|2009 |
By Bryant Frazer
Producer Emmanuel Benbihy's multi-installment Cities of Love project takes the concept of the anthology film on a globe-trotting journey.... »
|
|
|
| 08|27|2009 |
By Steve Erickson
Ang Lee’s Taking Woodstock takes a turn away from the darker themes of his Brokeback Mountain and Lust, Caution, telling the story of Eliot Tiber (Demetri Martin), who wound up arranging for the Woodstock rock festival to take place on a farm in upstate New York. Shot in 35mm by Eric Gautier, the light-hearted film captures the sunny tones of a summer in the Catskills. Film & Video talked with Lee about hippie training camps, the influence of Jean-Luc Godard’s Weekend, and why he hasn’t yet worked with video.... »
|
|
|
| 07|30|2009 |
By Bryant Frazer
Director Mathilde De L'ecotais, who specializes in culinary photography, has a minimalist style and a sense of humor that puts a fresh spin on sardines, lobster, and even fast-food salad (in a memorable spot touting the presence of fresh Veggies at McDonald’s).... »
|
|
|
| 06|11|2009 |
By Steve Erickson
The visually dazzling film, whose production design may be its most impressive aspect, pays homage to a host of science fiction precursors, including 2001: A Space Odyssey, but carries an emotional charge all its own. F&V talked to Jones about the challenges of creating images of the lunar surface in a British soundstage and directing an actor to fight himself.... »
|
|
|
| 04|16|2009 |
By Steve Erickson
With Sleep Dealer, director Alex Rivera re-imagines the science fiction film from a distinctly Latin American perspective. Set in Mexico, it conjures up a gritty future in which menial labor is conducted via virtual reality and memories can be sold on-line. Using both Super-16 and HD video, Rivera creates an extremely promising debut, which uses science fiction to speak about the dilemmas and possibilities facing the Third World.... »
|
|
|
| 02|06|2009 |
By Debra Kaufman
We shot the film digitally — the first time for me. There are many reasons to do this but the best for me was the workflow—to be able to shoot a test and see it immediately rather than waiting for dailies. It made the whole process more fluid. I could do dailies four times a day and at the end, all day. It was liberating for that flow of imagery to have been enhanced so much by shooting digitally.... »
|
|
|
| 12|18|2008 |
By Steve Erickson
Ari Folman embraces the ambiguity of animation, mixing past and present, memory and dreams. Waltz With Bashir uses relatively conventional interview footage much of the time, but its flashbacks would be impossible to stage without extensive recreations. While such an approach risks aestheticizing violence, Folman avoids this pitfall. His film’s final five minutes are among recent cinema’s most devastating.... »
|
|
|
|
|
 |
