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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|19|2010 |
Beth Marchant
The Performance Rights Act is a bill before the U.S. Congress that aims to provide "parity in radio performance rights under title 17, United States Code, and for other purposes." In other words, it would amend the current federal copyright law to give performers on sound recordings played over commercial radio stations equal rights to compensation. Right now, only satellite, Internet and cable radio stations pay these royalties to performers. Counterpoint Systems' CEO Amos Biegun considers the outcome.... »
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| 08|19|2010 |
Beth Marchant
FirstCom's Chronicles of Hip Hop is a seven-disc series aimed at film and television that features a wide range of performances from artists emerging from the urban club scene. In these two song excerpts from the series, you can hear the range of hip hop styles, from R&B to rap, that eclectic producer Symbolyc One (S1) helped style into a fresh mix of edgy, honest music.... »
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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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| 05|28|2010 |
Beth Marchant
In its 30 seasons on the air, the PBS series This Old House has become as much of an American classic as the homes its craftsmen restore from one episode to the next. The show has 17 Emmy wins and 83 nominations, including yet another announced this week, to its credit.... »
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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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| 10|22|2009 |
By Dan Daley
Glee has a split personality, says supervising sound editor John Benson, who spots the show at Technicolor Sound Services with co-supervising sound editor Gary Megregian and producer Alexis Martin. “The show is a constant contrast between the fantasy of the musical performances and the reality of a high-school drama,” he explains, emphasizing that the two never overlap. That makes the transitions from reality to fantasy and back as critical to the show’s audio as the music itself.... »
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