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| 02|06|2012 |
By Barbara Robertson
Scott Farrar received his first Oscar nomination for best achievement in visual effects for Cocoon, and went on to win the Oscar in 1996 for his work on that film. At that time, he was a visual effects cameraman at Industrial Light & Magic. Since then, as a visual effects supervisor at ILM, he has stacked up five more Oscar nominations, the sixth for Transformers: Dark of the Moon, an award he shares with Scott Benza of ILM, Matthew E. Butler of Digital Domain, and special effects supervisor John Frazier.... »
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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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| 01|18|2012 |
By Steve Erickson
Wiseman may be best known as a pioneer of the cinema vérité school of documentary, which minimizes the director’s presence, but here, he comes close to Busby Berkeley territory, as he acknowledges in the following interview. Working for the first time in HD, he shows new possibilities in the medium, asCrazy Horse matches the color and beauty of 35mm.... »
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| 01|12|2012 |
By Steve Erickson
Lynne Ramsay’s We Need to Talk About Kevin is an unconventional look at American violence. The first 20 minutes of the film are a radically nightmarish montage. While the rest of We Need to Talk About Kevin is somewhat more conventional, it never loses its dreamlike feel, enhanced by a combination of 35mm and Canon 5D Mark II DSLR video.... »
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| 12|22|2011 |
By Meleah Maynard
Hollywood design agency The Ether created a new visual of the tower for Tower Heist's trailer, using 3D graphics and bold typography to emphasize the building's importance in the film.... »
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| 12|22|2011 |
Bryant Frazer
Extremely Loud and Incredibly Close deals with one of the most fraught subjects that can be tackled by a filmmaker — the September 11 attacks on the World Trade Center. Set in New York City between 2001 and 2003, the film sees the events through the eyes of a child who lived them. The subject matter complicated things for the editorial team, which was tasked not just with handling the material with appropriate sensitivity, but with organizing a significant amount of VFX work depicting the New York City of 10 years ago, all with an end-of-year release date looming ever closer. Film & Video spoke with associate editor David A. Smith about the special challenges of the project.... »
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| 12|20|2011 |
By David Heuring
The premise behind American Horror Story is that the troubled new owners of a creepy, old house can’t escape the residual evil left by grisly events that previously unfolded in the residence. Cinematographer Michael Goi, ASC says, “It reminds me of what Roger Corman said about The Fall of the House of Usher (1960), when he was asked ‘Where’s the monster?’ He said, ‘The house is the monster.’”... »
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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|03|2011 |
By Bryant Frazer
The new science-fiction film In Time, shot by cinematographer Roger Deakins for writer/director Andrew Niccol, represents the fifth time invisible VFX experts Luma Pictures worked with Deakins.... »
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