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| 10|13|2011 |
By Bryant Frazer
For dailies screenings and color-correction on TNT's Dallas, a relaunch of the classic TV franchise that's slated to debut next summer, MTI Film in Los Angeles is turning to IP networks to move footage between Texas and Hollywood in real time. Producers in Dallas, Texas, will screen and approve dailies using MTI's Remote Control Dailies, and MTI staff colorists will correct the footage in L.A.... »
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| 10|07|2011 |
By Bryant Frazer
Angenieux scored a key endorsement for its new T2.8 Optimo 45-120mm S35mm zoom lens, with DP Rodney Charters saying he's embraced it for aggressive handheld coverage with the B camera on his current show, Showtime's Shameless.... »
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| 10|05|2011 |
By Bryant Frazer
West Side L.A. post facility Post Haste Sound has expanded its range of services, adding a new video suite equipped with Apple Final Cut Pro and Adobe Premiere Pro. It's offering graphics and titling, QC of both file-based and tape-based sources (including HDCAM SR and D5), and encoding and transcoding.... »
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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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| 06|13|2011 |
By Bryant Frazer
Ubiquity Broadcasting, based in San Juan Capistrano, CA, is dedicated to platform- and screen-independent content creation. That means that when the company captures action-sports footage, it's meant to appear in a variety of different venues, whether it's streamed live to your iPhone or iPad or rebroadcast in a digital auditoriums at your local multiplex.... »
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| 05|17|2011 |
By Meleah Maynard
Creating a visual metaphor that tells a sweeping story while capturing the feel of a particularly tumultuous time in history in just minutes is no easy task. But Imaginary Forces bills itself as a creative agency that likes a good challenge.... »
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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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| 01|14|2011 |
By Bryant Frazer
MTV wanted to show that it's serious about this weekend's launch of its new series, Skins, a stateside remake of the popular Brit teen-life drama, with one of the biggest campaigns in the channel's history.... »
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