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03|27|2008

London's Jellyfish Pictures and the Art of Squicky VFX

By Debra Kaufman

Fight for Life focused on the body’s ability to fight life-threatening health issues from infancy through old age, and Jellyfish’s work enabled producers to go into the body to examine trauma, all the way to the microscopic level....  »
02|01|2008

HOT HOUSE: Spy Post Has an Eye for FX

Michael Koegel

According to Eric Hanson, CEO, Spy Post is "the only company North of Los Angeles and West of the Rockies and possibly West of the Mississippi that can offer high-end visual effects including Flame and CG, VFX editorial, color correction and film-to-tape transfer with a Spirit, as well as a full HD-based digital intermediate pipeline."...  »
01|31|2008

CBS Sports Director Bob Fishman on a New Look for Football

By Bryant Frazer

When F&V covered Vision III Imaging last fall, company founder Chris Mayhew gave us the details behind his “depth-enhancement” technology, which uses special “parallax scanning” lens adapters to capture depth information and give 2D footage an almost three-dimensional quality....  »
01|01|2008

HOT HOUSE: Digital Kitchen’s Ambient Design

Michael Koegel

Digital Kitchen, which considers itself a non-traditional design shop, is quite literally all over the map, having produced site-specific "experiential" pieces in Hong Kong, Las Vegas and New York’s South Street Seaport....  »
01|01|2008

QuickTiming

Prime Image is introducing Time Tailor, an innovative new software to automatically edit video to fit determined time constraints. ...  »
12|19|2007

60-Second Q&A: Peter Heap, DP, Mythbusters

By Michael Grotticelli

As one of several DPs working on the TV show Mythbusters since 2004, Peter Heap has shot about half of the series’ roughly 100 episodes. This includes capturing footage inside an underwater car, from a helicopter high above the Rockies, beside 100 pounds of explosives (and a burning fuse), and extremely close to live alligators, a 747, a cruise ship and frighteningly loud machine guns....  »
12|13|2007

Anthem's 4:4:4 VFX Work for Sci-Fi's Tin Man

By Bryant Frazer

As cable channels get more adventurous with original programming, the scope of VFX jobs for TV is expanding dramatically. For the recent six-hour Sci-Fi Channel miniseries Tin Man — a loose contemporary adaptation of L. Frank Baum’s The Wonderful Wizard of Oz — Vancouver VFX shop Anthem FX ramped up production to crank out no fewer than 1500 FX shots for delivery in the HDCAM SR 4:4:4 format....  »
10|24|2007

Into the Wild With Nature DP Bob Landis

By Bryant Frazer

Filmmaker Bob Landis may have a home office, but his soundstage is Yellowstone National Park. More than 300 days out of every year, he takes his trusty Sony HDW-730 camcorder out on the road, driving into Yellowstone and following the wildlife around in search of beautiful and revelatory instances of animal behavior. ...  »
09|27|2007

Pushing More Daisies in Less Time

By Bryant Frazer

The new ingredient in editor Stuart Bass's editorial stew is Avid's ScriptSync feature, introduced this spring at NAB, which automatically matches camera takes to lines of dialogue in the show's script. ...  »
09|27|2007

Superhuman Cinematography

By Bryant Frazer

Cinematographer Robert McLachlan uses Clairmont strobes for an unusual practical effect when he shoots action for Bionic Woman....  »

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