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| 12|13|2007 |
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.... »
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| 10|24|2007 |
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. ... »
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| 09|27|2007 |
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. ... »
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| 09|27|2007 |
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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| 08|09|2007 |
By Bryant Frazer
If you watched coverage of the Final Four basketball tournament on CBS this year, you’ve seen V3 footage in action. Now, with systems available for rental at Clairmont Camera, the company is gearing up a full-court press to try and get V3-capable lenses into broadcast trucks from coast to coast.... »
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| 07|12|2007 |
By Bryant Frazer
When Creative Director Greg Hahn of New York’s Gretel started thinking about opening titles and category opens for Spike’s Guys Choice awards show, he gravitated toward ultra-high-speed imagery. ... »
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| 06|21|2007 |
By Bryant Frazer
The History Channel's new hit show, Ice Road Truckers, is all about the men who drive big trucks across frozen Canadian lakes, hauling essential supplies to the diamond mines in the far north by traveling roads built across great expanses of frozen lakes. If it takes nerves of steel for the drivers, who can actually hear the ice cracking under their groaning rigs, it also takes a certain kind of grit to ride shotgun with an HD camera. That's what DP Gavin Brennan found out last January, when he hit the Northern Territories to start the three-month shoot. F&V asked him about extreme cold, frozen pixels, and dangerous driving.... »
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| 05|24|2007 |
By Bryant Frazer
For a set of high-octane show openers for ESPN's NASCAR coverage, The Syndicate intercut animated races featuring colorful CG cars with super-glossy live-action footage from the Arri D-20. Watch the package, below, then read our interviews with The Syndicate's creative director, David Hwang, on the ideas behind the animation, and with FX supervisor Ben Grossman on the decision to use the D-20 and its implications for the pipelines for TV spots.... »
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| 05|21|2007 |
By Debra Kaufman
Ousama Rawi started his career in cinematography in the U.K. shooting newsreels for TV, but soon went freelance and began shooting commercials and feature films out of London. ... »
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| 05|10|2007 |
By Bryant Frazer
After 15 years in the business of cutting episodic TV, editor Farrel Levy has figured out a thing or two about getting inside someone's head. That's her job — making sure an audience understands not just the narrative, but the psychology behind the story. ... »
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