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| 03|08|2010 |
By Bryant Frazer
Advances in speed and power are increasingly making the DI suite the more efficient place to work on certain kinds of VFX.... »
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| 02|11|2010 |
By Bryant Frazer
And now for something completely different: the co-editor of Children of Men heads to Madrid to tackle an animated feature.... »
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| 01|27|2010 |
By Bryant Frazer
3 Dart broke down the human gestation period into seven animated segments each covering between two and four weeks in the process, starting from about a week after conception and finishing off with labor and delivery.... »
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| 01|14|2010 |
By Bryant Frazer
Modern Videofilm installed a Blackmagic Design DaVinci Resolve system at the Fox lot in Century City, then networked it via optical fiber to the Modern offices in Glendale, 56 miles away.... »
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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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| 01|08|2010 |
By Bryant Frazer
One of the bottlenecks in Renegade’s workflow historically has been its system for encoding files for MPEG-2 based deliverables. Now, Renegade has retired that solution in favor of a StreamZHD server from Digital Rapids connected to its Unity and a 4 TB NAS box.... »
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| 01|05|2010 |
By Barbara Robertson
Avatar, director James Cameron’s second billion-dollar baby, stretched the process of making a visual effects blockbuster as much as it is stretching the imagination of audiences streaming into theaters to revel in an alien world.... »
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| 12|17|2009 |
By Debra Kaufman
Invictus is rife with approximately 600 visual effects shots. If VFX supervisor Michael Owens has his way, audiences won’t notice a single one.... »
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| 12|17|2009 |
By Bryant Frazer
Before production began on new seasons of ABC's Supernanny, Bravo's Real Housewives of New York, and CMT's World's Strictest Parents, Catalyst Post got production company Shed Media US up to speed with a flotilla of new Avid DX and Unity systems.... »
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| 11|19|2009 |
By Bryant Frazer
F&V spoke to The Box’s DI colorist at LaserPacific, Dave Cole, about the work that went on behind the scenes to make sure the filmmakers had exactly the right perspective on their footage.... »
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