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| 04|01|2005 |
By Bryant Frazer
Ipostini, the Marina Del Rey post house that handles Showtime’s original features, has been using Final Cut Pro for more than four years. But when it came time to cut the extravagant demon-weed musical... »
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| 03|01|2005 |
Whether or not you’re actually shooting HD, odds are you’re spending a lot of time thinking about it — scrutinizing HD images, scanning the specs of different HD cameras, or actually... »
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| 03|01|2005 |
By Debra Kaufman
The verdict is in. With the debut of Law & Order: Trial by Jury, the producers and post team on the show have been found guilty of... »
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| 03|01|2005 |
By Iain Blair
In a TV landscape dominated by brightly-lit sitcoms and reality shows, the spy drama Alias stands out as another kind of animal. Shadowy and moody, the show’s cinematography gives it a feature-film ambiance... »
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| 02|01|2005 |
By Sharon Kennedy
Director Dougal Wilson of Colonel Blimp Productions, London, first got the idea of parodying the black-and-white ’50s BBC show " Muffin the Mule " (in which a very simple mule puppet dances and does... »
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| 02|01|2005 |
By Iain Blair
Writer-director-producer Glenn Gordon Caron has always had the gift of being able to look into the minds of America’s TV audience and know exactly what they’re thinking and what they want. Now, the man... »
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| 12|01|2004 |
Interviewed by Debra Kaufman
Is there a moment that was key in your decision to become a DP? When I was 13, I took a class where the teacher talked about different media every week. She showed parts of [ Ingmar Bergman’s] Persona. I... »
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| 12|01|2004 |
By Debra Kaufman
It’s a long way between Boulder, Colorado, and Reykjavik, Iceland, but the distance is even greater between a traditional television workflow and a futuristic, data-centric all-digital pipeline. Mark and... »
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| 12|01|2004 |
— Alison Johns
Drew Carey’s Green Screen Show has two layers of comedy— the video shot of Carey’s 11-man troupe and the props and sets that are literally drawn into the skits by animators from all over the country. The... »
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| 12|01|2004 |
By Iain Blair
When one of television’s hottest shows, CSI, decided to open up a New York franchise, visual effects supervisor Cathy Siegel of Brickyard VFX, the sole effects vendor on the show, faced several new... »
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