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| 05|13|2011 |
By Bryant Frazer
Priest, the new action-horror hybrid from Screen Gems, got a 4K finish at Sony Pictures Entertainment's in-house DI Facility, Colorworks. The project was scanned at 4K from original camera negative on Scanity film scanners. Both 2K and 3D versions of the film were graded at 4K — and, because of the lower brightness of projected stereo-3D images, the 3D image had to be boosted a bit at the end of the process. Film & Video asked colorist Trent Johnson some quick questions about the workflow at Colorworks and his work on Priest, which opens today in North America.... »
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| 10|04|2010 |
By Bryant Frazer
Bringing Childrens Hospital to television meant planning a workflow that would preserve the creative energy that made the online version a success.... »
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| 03|24|2010 |
By Bryant Frazer
Would you have the nerve to ask your friendly neighborhood DI artist to color-grade your feature film in just one day? The team behind The Graves, a low-budget horror film written and directed by Brian Pulido and shot by cinematographer Adam Goldfine, did just that.... »
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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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| 07|10|2008 |
By Bryant Frazer
Journey to the Center of the Earth, directed by Eric Brevig — a filmmaker with lots of experience in the VFX realm — might not have the same historic impact as The Jazz Singer or Becky Sharp, but as the first live-action VFX-driven feature film to be shot for 3D, it can’t help but break new ground.... »
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| 06|07|2007 |
By Debra Kaufman
When Technicolor Creative Services announced it would open a Digital Intermediate facility on the Sony lot, the idea was that the proximity of DI to sound mixing and other studio services would create massive efficiencies. That was just proven true, with the 4K DI of Spider-Man 3... »
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| 03|14|2007 |
By Bryant Frazer
When producer Jonathan Murray started looking to bring back MTV’s venerable reality series Road Rules, which went off the air several years ago, he knew the show would need a new hook.... »
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| 08|02|2006 |
By Debra Kaufman
A spin-off of reality show Laguna Beach, The Hills follows Lauren Conrad, a character from a past season, to Los Angeles. Cinematographer Hisham “Sham” Abed used the same camera and lenses as he did with Laguna Beach: the Panasonic 480-line resolution SDX-900 in 24p mode and native 16:9 aspect ratio and a range of Canon HD lenses.... »
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| 06|05|2006 |
By Debra Kaufman
We used different formats — some 16mm, some 35mm and another section with anamorphic. All of it is in the 1.85 aspect ratio, even though we shot with anamorphic lenses. We were going for different textures, different film grain to represent one of the stories ...... »
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| 03|01|2006 |
However much you know — or think you know — about HD production, there’s
always more to be learned. Just because you’re an ace HDCAM operator
doesn’t mean you’ll instinctively be able to coax gorgeous images out
of the inexpensive, option-rich handhelds that have exploded onto the
market... »
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