 |
 |
| 06|10|2008 |
By Michael Grotticelli
Vinten’s Vector 950 Active pan-and-tilt head, which complements Canon Broadcast’s lens-stabilization Optical Shift Image Stabilizer (Shift-IS) technology, can now be used with most existing Canon HD field Shift-IS lenses.... »
|
|
|
| 05|27|2008 |
Matt Armstrong
Recording and mixing audio on set for reality television is arguably the most challenging situations for a sound department. It takes the unpredictability of documentary shoots, multiplies that many times over with separate lines of action occurring simultaneously and then puts it all under a pressure cooker of time and budget constraints. ... »
|
|
|
| 04|30|2008 |
Matt Armstrong
For the Discovery series Human Body: Pushing the Limits, which examines the intricate processes of the human body under a variety of ordinary and extreme conditions, Rushes in London created all the CG and VFX to allow the project to transition seamlessly between live action actors and realistic versions of the actors’ bodies, sans skin, as well as pushing into the muscle, veins and cells of the body. ... »
|
|
|
| 04|24|2008 |
By David Heuring
Director Mike Figgis may be best known for the acclaimed hit Leaving Las Vegas, which ushered in a continuing renaissance in Super 16 film production that began in the mid-1990s. Figgis has earned a reputation since then as a technology-savvy artist and iconoclast, so maybe it's not surprising that, when Sony Pictures insisted that his latest TV project, Canterbury's Law, be shot in HD, Figgis defied the order.... »
|
|
|
| 03|27|2008 |
By Bryant Frazer
Building out storage and rendering power for Hollywood projects at a new facility in Santa Monica, PostWorks executives think they see the future of the high-end television pipeline — and it looks a lot like a feature-film DI workflow. The proof of concept is its recent implementation of a datacentric, largely tapeless workflow for the five-nights-a-week HBO series, In Treatment.... »
|
|
|
| 03|27|2008 |
By Debra Kaufman
“Our Final Cut workflow wasn’t just about saving money and being more efficient—which we were in a big way—but about how creative and humane a cutting room and post process can actually be in today’s environment.”... »
|
|
|
| 03|27|2008 |
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 |
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 |
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 |
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.... »
|
|
|
|
|
 |
