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| 09|23|2011 |
By Matt Hurwitz
When executive producer Brannon Braga was hired for Fox’s new series Terra Nova, he was the second person brought onboard. The third, before any other writing or producing staff or cast, was visual-effects supervisor Kevin Blank. “That shows you how important we knew he would be to the success of this series,” says Braga. “Because if we couldn’t pull off this world, there would be no show.”... »
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| 02|23|2011 |
By Bryant Frazer
Historical recreations are expensive. That's why director Robert Child determined that he would shoot footage for The Wereth 11 one little piece at a time — he was getting elements in the can, not full scene tableaux. StudioDaily asked Frederic Lumiere of Lumiere Media to describe the challenge of editing a project that's made up of tiny bits and pieces, rather than coherent shots and scenes.... »
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| 02|09|2011 |
By Bryant Frazer
Justified returns tonight for a second season on FX, and cinematographer Francis Kenny, ASC, says the show looks better than ever. Why is that? The show upgraded from the F35 to Sony’s newer SRW-9000PL in the hiatus, but the important thing is that Justified upgraded its image processing. Tonight, Justified becomes the first show to be broadcast using a new color-encoding workflow for television and digital cinema.... »
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| 02|09|2011 |
By Bryant Frazer
“I rarely talk to actors, because I don’t want to interfere with their performances,” says cinematographer Francis Kenny, ASC. “I know them, I like them, and sometimes we joke around. But not during the actual shooting.”... »
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| 11|03|2010 |
By David Heuring
Shooting horror in Super 16 and, often, broad daylight? Scary stuff. To get the new American gothic look of AMC’s horror series The Walking Dead, cinematographer David Boyd, ASC, took inspiration from the show’s graphic-novel origins, as well as from the auteurist stamp of writer-producer Frank Darabont... »
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| 09|20|2010 |
By David Heuring
How do you make 2010 New York City look like Atlantic City in the 1920s? You take over buildings in Bedford-Stuyvesant, move into soundstages at Steiner Studios in the Brooklyn Navy Yard, and build out a 200-foot boardwalk that lets your characters walk from indoor sets into the sunlight while the camera rolls. And it helps to shoot film.... »
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| 08|16|2010 |
By Bryant Frazer
One of the more powerful secret weapons for NLEs is Avid Media Composer's ScriptSync feature, which uses speech-recognition algorithms to organize footage. Editor David Helfand told us how he uses it on Weeds.... »
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| 08|10|2010 |
By Bryant Frazer
The typical viewer of Nicktoons is a 12-year-old boy in couch-potato mode. How do you get them excited about your programming? According to Michael Waldron, creative director at Nailgun*, it all comes down to blowing stuff up. But in a good way.... »
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| 03|30|2010 |
By Bryant Frazer
Now that the AJA Ki Pro boxes have been in the field for a while, users are stress-testing them. One of those early users is Bradley Levin, director of the National Geographic Channel documentary series Repossessed.... »
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| 01|13|2010 |
By Bryant Frazer
Footage for Investigation Discovery's reality crime show The Shift is captured on location by a mere two shooters who double and triple as producers and directors, wielding Sony HVR-Z1U HDV cameras with Sennheiser shotgun mics.... »
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