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| 02|02|2012 |
By Bryant Frazer
On Friday, February 3, indie rock band Saint Motel will perform at the Soho House in West Hollywood, accompanied by what World War 7 (WW7) Creative Director Josh Ferrazzano describes as "a multimedia, stereoscopic, psychedelic spectacular."... »
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| 01|27|2012 |
By Bryant Frazer
The Surrogate was shot on the Red One MX and edited on a software-only Avid Media Composer system by Lisa Bromwell, an Avid veteran who took on the film as a rare unpaid gig because she believed in the material. When we spoke to her this week, she had just returned from the film's world premiere in the cavernous Eccles Theater in Park City and was already back at work cutting two episodes of Criminal Minds, but she said The Surrogate represented a satisfying departure from her normal mix of editorial jobs.... »
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| 12|12|2011 |
Special to StudioDaily
Hugo is a loving homage to the early craft of filmmaking, but it is the product of very contemporary techniques. It's among the first feature films to be shot with the Arri Alexa camera. It was the first stereo-3D production for Scorsese and cinematographer Robert Richardson. And it embraced a trend in workflow that is seeing significant amounts of post-production work actually being performed near the set.... »
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| 12|09|2011 |
By David Heuring
The early collaborations between cinematographer Tim Orr and director David Gordon Green were poetic, independent dramas with minimal budgets. More recently, they've made a successful string of studio comedies. "We try to have fun with it while breaking conventions," Orr says.... »
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| 12|02|2011 |
By Bryant Frazer
The virtual environment had to be detailed in all the right places, so that it would stand up to camera scrutiny in shots where it took up the majority of the frame, simple enough on the whole to allow quick fixes during production, and massive enough to make sense as the camera pulls back to a literal god's-eye view of earthly affairs.... »
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| 11|22|2011 |
By Bryant Frazer
Because he was shooting in tight spaces on a real-world location, Bijan wanted to use gear that could be crammed into a small area. First, he tested the Canon 5D. He also considered the Red One. But workflow was a consideration, and Bijan wanted to go direct to edit. Those considerations led him to the Sony PMW-F3.... »
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| 11|11|2011 |
Special to StudioDaily
Real Steel, directed by Shawn Levy and released by DreamWorks, imagines a future world where powerful robots replace human athletes in the boxing ring. While no robots assisted in the making of the movie, there was a futuristic element to the production — Real Steel pioneered the use of gear and technology from Codex Digital for a feature-film workflow.... »
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| 11|08|2011 |
By Bryant Frazer
For a recent spot featuring the Wilton BASH (the acronym stands for "Bad-Ass Sledge Hammer"), Odd Machine brought some Hollywood-studio-style showmanship and special effects to bear on what could have been just another low-budget promotional piece.... »
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| 09|23|2011 |
By Matt Hurwitz
When executive producer Brannon Braga was hired for Fox’s new series Terra Nova, he was the second person brought onboard. The third, before any other writing or producing staff or cast, was visual-effects supervisor Kevin Blank. “That shows you how important we knew he would be to the success of this series,” says Braga. “Because if we couldn’t pull off this world, there would be no show.”... »
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| 09|06|2011 |
By Bryant Frazer
Cinematographer Justin Talley took a wait and see approach to his job on the forthcoming indie film Somewhere Slow, now in production, finally settling on the attractively priced Sony NEX-FS100 as the best combination of performance and ergonomics for the film's needs.... »
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