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| 08|31|2011 |
By Bryant Frazer
As Perry sings, "Baby you're a firework/show them what you're worth," pyrotechnics emerge, on cue, from Perry's body and those of the video's main characters. That's where Radium/Reel FX came in.... »
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| 08|03|2011 |
By David Heuring
“We saw it partly as an opportunity to pay homage to the films of John Ford,” says cinematographer Matty Libatique, ASC. “We wanted to create a disciplined Western language, guided by imagery like Conrad Hall’s work on The Professionals and Butch Cassidy and the Sundance Kid. Our study of the form grew out of our enthusiasm for the films, and it turned out to be one of the best parts about this project.”... »
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| 07|07|2011 |
By Bryant Frazer
Editors on a Transformers movie use the script and previsualizations as starting points, then build the picture scene by scene — even as the evolution of VFX shots opens new directions in storytelling and the effects of 3D help dictate the editing rhythms.... »
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| 06|30|2011 |
By Bryant Frazer
One of the things you notice about the languid, mysterious Mary Marie — part sisterly coming-of-age film, part erotic drama — is how the sequences of gorgeously colored and composed images bring to mind a carefully curated photography exhibit. They also convey a pointed intimacy that gives the film its urgency. Film & Video interviewed DP Magela Crosignani about the challenge.... »
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| 06|13|2011 |
By Bryant Frazer
Ubiquity Broadcasting, based in San Juan Capistrano, CA, is dedicated to platform- and screen-independent content creation. That means that when the company captures action-sports footage, it's meant to appear in a variety of different venues, whether it's streamed live to your iPhone or iPad or rebroadcast in a digital auditoriums at your local multiplex.... »
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| 05|17|2011 |
By Meleah Maynard
Creating a visual metaphor that tells a sweeping story while capturing the feel of a particularly tumultuous time in history in just minutes is no easy task. But Imaginary Forces bills itself as a creative agency that likes a good challenge.... »
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| 03|24|2011 |
By Bryant Frazer
If you want big branding, you want to see your spot on the big screen. And if you really want to make an impression, you want that spot to show in stereo 3D in front of 3D movies. The BMW-owned Mini brand employed that strategy for a large-scale cinema spot using ultra-high-speed footage to show a heavy monster truck gliding through the air above one each of the four different cars in Mini's product line. Mini says it took a crew of 120, including the stunt driver, to make the shoot happen. That figure includes stereo-3D experts Joshua Ferrazzano and David Shafei, whose World War Seven production company was brought in to figure out how to make stereo 3D happen on time and on budget. We talked to them about prepping for the day, shooting with Phantoms and Reds, and monitoring super-slow-motion footage in stereo.... »
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| 03|04|2011 |
Special to StudioDaily
STEELE Studios co-founder Jerry Steele was online editor on Avril Lavigne's new video, "What the Hell," and also supervised stereo 3D post-production, using the stereoscopic capabilities of the Quantel Pablo 4K to precisely calibrate right-eye and left-eye imagery. (He didn't stop there — he was also in charge of beauty work and FX and served as colorist.) In this Q&A, he describes the process of finishing a high-end music video in 1080p stereo 3D.... »
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| 02|22|2011 |
By Barbara Robertson
The Oscar nomination for Hereafter is visual effects supervisor and Scanline VFX president Stephan Trojansky’s first, and the first for the studio. However, it isn’t Trojansky or Scanline’s first award.... »
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| 02|21|2011 |
By Barbara Robertson
Including this year’s Oscar nomination for best visual effects in Alice in Wonderland, Sony Pictures Imageworks’ Ken Ralston has received eight Oscar nominations and five Oscars.... »
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