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| 06|30|2011 |
By Bryant Frazer
One of the things you notice about the languid, mysterious Mary Marie — part sisterly coming-of-age film, part erotic drama — is how the sequences of gorgeously colored and composed images bring to mind a carefully curated photography exhibit. They also convey a pointed intimacy that gives the film its urgency. Film & Video interviewed DP Magela Crosignani about the challenge.... »
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| 06|23|2011 |
By Barbara Robertson
An enviable group of award-winning visual effects supervisors powered Super 8’s post-production. Film & Video talked with ILM's Kim Libreri about VFX production for what could be this summer’s favorite family film.... »
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| 05|13|2011 |
By Bryant Frazer
Priest, the new action-horror hybrid from Screen Gems, got a 4K finish at Sony Pictures Entertainment's in-house DI Facility, Colorworks. The project was scanned at 4K from original camera negative on Scanity film scanners. Both 2K and 3D versions of the film were graded at 4K — and, because of the lower brightness of projected stereo-3D images, the 3D image had to be boosted a bit at the end of the process. Film & Video asked colorist Trent Johnson some quick questions about the workflow at Colorworks and his work on Priest, which opens today in North America.... »
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| 04|04|2011 |
By David Heuring
The script for Hop required roughly 20 percent of the scenes to be completely computer generated, but the vast majority combine live-action elements with actors, actual environments, and CGI characters. Among the many puzzles that had to be solved by director Tim Hill and cinematographer Peter Lyons Collister, ASC? Eyelines.... »
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| 02|23|2011 |
By Barbara Robertson
Tim Burke won an Oscar for Gladiator in 2000 and was visual effects supervisor for Ridley Scott’s Black Hawk Down, which released in 2001. And then he hopped the magical train to Hogwarts and stayed there for 10 years.... »
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| 02|22|2011 |
By Barbara Robertson
The Oscar nomination for Hereafter is visual effects supervisor and Scanline VFX president Stephan Trojansky’s first, and the first for the studio. However, it isn’t Trojansky or Scanline’s first award.... »
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| 02|21|2011 |
By Barbara Robertson
Including this year’s Oscar nomination for best visual effects in Alice in Wonderland, Sony Pictures Imageworks’ Ken Ralston has received eight Oscar nominations and five Oscars.... »
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| 02|18|2011 |
By David Heuring
Most of the images were captured in Super 35, many effects plates were captured on 65mm, and numerous flashback scenes were lent a haunting, abstract quality through the use of cross-processed Super 16 reversal film.... »
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| 02|15|2011 |
By Bryant Frazer
Film & Video got editors Angus Wall and Kirk Baxter to take a break from their work on Fincher's The Girl with the Dragon Tattoo — which is, like The Social Network, being edited with Final Cut Pro — and talk about bringing Fincher's and Sorkin's vision of Business 3.0 (and a bit of old-fashioned loneliness) to bracing life.... »
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| 02|14|2011 |
By Bryant Frazer
As part of the three-man dubbing team on Salt, Scott Millan was the music man, charged with weaving the compositions of James Newton Howard seamlessly into a narrative that was driven by music, balancing the needs of the score with the demands already placed on the audience by dialogue and special-effects sound work. On the eve of the Oscars, Film & Video spoke with Millan about getting his start in TV, working with director Phillip Noyce, and why this movie should be played loud.... »
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