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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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| 09|24|2009 |
By Debra Kaufman
Because the editing team was so used to Avid Unity as a way to collaborate and share editing duties, it was a rude shock to lose that easy capability.... »
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| 09|10|2009 |
By Bryant Frazer
Offhollywood made a play for the New York market in a big way last month, when it expanded its operations to include a full-fledged camera rental and service facility dedicated to the Red Digital Cinema Camera.... »
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| 08|19|2009 |
By Bryant Frazer
Production company Creative Media Group (CMG; Orem, UT) switched to shared-storage as a self-defensive measure as the task of managing multiple FireWire drives among editors and graphic designers became ever more onerous.... »
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| 08|19|2009 |
By Bryant Frazer
Philo Television, the post-production division of the marketing and direct-response production company Lieberman Productions, recently acquired an Archion Synergy HDu system to extend its existing Avid Unity MediaNetwork. StudioBytes asked him for a little more detail about the technology.... »
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| 07|01|2009 |
By Debra Kaufman
A turning point in the career of Public Enemies producer Bryan Carroll was when he worked as a film and visual effects editor for James Cameron on Titanic. “That’s what sparked my interest into shooting movies digitally from script to screen,” he said.... »
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| 06|25|2009 |
By Bryant Frazer
As Lionsgate switches shows including Mad Men and Crash to the new D3 System, the company is moving from distributing dailies on DVD to an all-streaming solution. The new workflow is definitely greener and probably more secure, and it's also reduced headaches for Williams.... »
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| 04|30|2009 |
By Bryant Frazer
New York’s Mega Playground is introducing DP Dailies, a new HD dailies workflow built around Digital Film Technology’s Bones Dailies system that it says can save feature-film producers more than $100,000 over a conventional, two-pass dailies-and-DI workflow on a production shooting more than 250,000 feet of 35mm footage.... »
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| 03|26|2009 |
By Debra Kaufman
The popular medical TV episodic ER is winding down after a 15-year run. But it’s going out with a bang: after the entire run was filmed on 4-perf 35mm, the last seven episodes were shot with the Red camera.... »
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| 01|15|2009 |
By Debra Kaufman
The Spirit, directed by Frank Miller and based on the Will Eisner comic book series, may have been disappointing at the box office, but it excelled at finding new ways to integrate digital production and post. That’s thanks to The Orphanage, a VFX/production company in San Francisco and Los Angeles, and its co-founder Stu Maschwitz, the movie’s second unit director and visual effects supervisor.... »
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