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| 01|27|2012 |
By Bryant Frazer
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.... »
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| 01|18|2012 |
By Steve Erickson
Wiseman may be best known as a pioneer of the cinema vérité 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.... »
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| 01|12|2012 |
By Steve Erickson
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.... »
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| 12|22|2011 |
Bryant Frazer
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.... »
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| 12|12|2011 |
Special to StudioDaily
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.... »
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| 12|09|2011 |
By David Heuring
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.... »
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| 12|02|2011 |
By Bryant Frazer
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.... »
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| 09|06|2011 |
By Bryant Frazer
Cinematographer Justin Talley took a wait and see approach to his job on the forthcoming indie film Somewhere Slow, now in production, finally settling on the attractively priced Sony NEX-FS100 as the best combination of performance and ergonomics for the film's needs.... »
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| 08|03|2011 |
By David Heuring
“We saw it partly as an opportunity to pay homage to the films of John Ford,” says cinematographer Matty Libatique, ASC. “We wanted to create a disciplined Western language, guided by imagery like Conrad Hall’s work on The Professionals and Butch Cassidy and the Sundance Kid. Our study of the form grew out of our enthusiasm for the films, and it turned out to be one of the best parts about this project.”... »
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| 07|07|2011 |
By Bryant Frazer
Editors on a Transformers movie use the script and previsualizations as starting points, then build the picture scene by scene — even as the evolution of VFX shots opens new directions in storytelling and the effects of 3D help dictate the editing rhythms.... »
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