Armed with Red camera number 610, The Olson Brothers — that's Obin and Amariah, of Wilmington, NC's DV3 Productions — have just wrapped post on what's almost certainly the first Red production to use the camera's brand-new Adobe Premiere workflow.... »
Co-producers Richard Shaw and Lee Cantalon have been working all their hip-hop connections to collect material for The Wordz from the Street, a collection of original music based on the core teachings of Christianity.... »
The last time F&V spoke with Fred Meyers, he was helping Star Wars - Episode III: Revenge of the Sith get up to speed with HDCAM SR 4:4:4 recording. More recently, he's been working behind the scenes on Journey to the Center of the Earth. We asked him to answer some general questions about the workings of a successful 3D shoot.... »
Right now, Stereoscope is a post and DI facility with 3D capabilities, but in the near future Cummins plans to have a full-bore production and post company running live-action 3D movies through the pipeline.... »
When M2G Media in Irvine, CA, was hired by a global marketing firm to create a video piece introducing the new design for the 2009 Nissan Maxima at the New York Auto Show, M2G producer Jeff Granbery saw Red.... »
It's been known for a while now (at least since the 2005 release of Chicken Little) that animated films do especially well in 3D versions. But the success of recent 3D projects like U23D, and especially Hannah Montana/Miley Cyrus: Best of Both Worlds Concert Tour — which opened to a stunning $31 million weekend on a relative handful of digital 3D screens in the U.S. — has many in Hollywood taking another look at the feasibility of 3D for live action, especially on a tight budget.... »
Building out storage and rendering power for Hollywood projects at a new facility in Santa Monica, PostWorks executives think they see the future of the high-end television pipeline — and it looks a lot like a feature-film DI workflow. The proof of concept is its recent implementation of a datacentric, largely tapeless workflow for the five-nights-a-week HBO series, In Treatment.... »
“Our Final Cut workflow wasn’t just about saving money and being more efficient—which we were in a big way—but about how creative and humane a cutting room and post process can actually be in today’s environment.”... »
When F&V covered Vision III Imaging last fall, company founder Chris Mayhew gave us the details behind his “depth-enhancement” technology, which uses special “parallax scanning” lens adapters to capture depth information and give 2D footage an almost three-dimensional quality.... »
Technical supervisor Clark Graff devised a tapeless workflow for Captain Abu Raed, a Jordanian film produced by GigaPix Studios (Chatsworth, CA) that played in competition at this year’s Sundance Film Festival, using custom-built digital film recorders both to capture footage from the production’s Arriflex D-20 cameras and to conform the feature using Adobe Premiere Pro CS3.... »
