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| 12|09|2010 |
By Bryant Frazer
Stereo 3D production specialist Paradise FX is on location with Dolphin Tale, a 2011 release starring Morgan Freeman and Ashley Judd. To facilitate essentially real-time viewing of stereoscopic dailies, Paradise FX is relying on Iridas SpeedGrade DI, which supports the RED Rocket card.... »
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| 11|16|2010 |
By Bryant Frazer
“This is what you have to understand with Tony Scott,” says Asylum VFX CEO Nathan McGuinness. “He is not a VFX director. He has no desire to make VFX films. He loves his in-camera techniques. He does everything he possibly can to shoot as much as he can in camera and get everything real.”... »
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| 10|19|2010 |
By Bryant Frazer
The team behind 127 Hours contacted HD Camera Rentals in Los Angeles not long after the company figured out how to strap an SI-2K POV camera — and a CineDeck recorder — onto an Olympic skier performing a 120-meter jump in an AT&T Winter Olympics 2010 spot.... »
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| 10|19|2010 |
By Bryant Frazer
Teaser... »
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| 10|05|2010 |
By Bryant Frazer
None of Dive's work for the film is especially flashy — unlike the teen-romance themed Twilight or the gleefully carnal True Blood, Let Me In could be described as a low-key horror drama with coming-of-age overtones, and it required unobtrusive VFX that were absolutely photoreal to match the story.... »
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| 09|07|2010 |
By Bryant Frazer
Adventure photographer Tyler Stableford tried a daredevil stunt of his own this year, expanding his skill set to include documentary filmmaking alongside his chops as a stills shooter. In his case, that meant adapting a tool he already used, the popular Canon 5D Mark II DSLR with video capabilities, and embracing a new one, Adobe Creative Suite.... »
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| 08|10|2010 |
By Meleah Maynard
For state-of-the-art carnage, you'd be hard-pressed to outdo director Roland Emmerich's end-of-the-world epic 2012. Cinema 4D maker Maxon and writer Meleah Maynard offered Film & Video a look at some of the strangely beautiful matte-painting work that went into the film's apocalyptic landscapes. Click the images to see the paintings in high resolution, and read the story to get insight on how they were created.... »
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| 07|12|2010 |
By Bryant Frazer
Cameras were tearing through 35mm scope, 35mm VistaVision and 65mm (five-perf) stock, and super-high-speed footage was being captured with cameras from Vision Research (Phantom digital cameras) and Photo-Sonics (35mm flat film). As usual with Nolan’s projects, the film did not get digital dailies or go through a digital intermediate. Film & Video got on the phone with editor Lee Smith and additional editor John Lee to learn about a workflow that mixes the best of digital and analog technologies.... »
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| 07|07|2010 |
By Bryant Frazer
F&V took a look inside post-production on Predators by talking to editor Dan Zimmerman and re-recording mixer/dialogue editor Brad Engleking about living up to Robert Rodriguez’s mantra — at Troublemaker, filmmaking takes place “at the speed of thought.”... »
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| 06|11|2010 |
By Bryant Frazer
Splice, the new biohorror movie from director Vincenzo Natali, is a 21st century update of the Frankenstein story. Putting life-creating power in the hands of two callow geniuses (played by Adrien Brody and Sarah Polley), it explores what happens when scientists lose control of a living experiment that they have a too-personal interest in. Their creation is Dren, a not-exactly-human little girl who grows up very quickly.... »
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