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| 04|01|2005 |
By Michael Grotticelli
With great fanfare, Apple Computer’s CEO Steve Jobs predicted that 2005 would be "the year of HD video editing." That winter day at MacWorld, Jobs was joined on stage at the Moscone Center by... »
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| 03|01|2005 |
By Dan Daley
Steven Wright’s famous one-liner “You can’t have everything — where would you put it?" has become the ultimate trope for the broadband digital era. Multichannel sound has permeated virtually every... »
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| 01|01|2005 |
By Dan Daley
Sound mixers need to become comfortable with multi-channel sound effects — because viewers already expect them. That means not only figuring out the best way to convey spatial relations across 5.1 channels, but also... »
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| 12|01|2004 |
By Debra Kaufman
Every change in the filmmaking process creates ripples downstream. As digital intermediates grow in popularity, the ripples extend all the way to the archives. "It leaves us in archives with a tricky... »
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| 12|01|2004 |
— Bryant Frazer
Sony’s introduction last month of a sub- $5000 pro version of its just-shipped HDR-FX1 consumer HDV camcorder made its aspirations for the format clear, appealing specifically to pro DVCAM users who Sony... »
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| 10|01|2004 |
By Barbara Robertson
A neon cowboy in a storefront window pointed the way to a Siggraph highlight: the public unveiling of Luxology’s long-anticipated Modo software at the Museum of Neon Art downtown. Three years in the making... »
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| 10|01|2004 |
By Debra Kaufman with Alison Johns
Strengthening its challenge to the mighty RenderMan, NVIDIA amped up the speed of Gelato rendering software, with network parallel rendering in version 1.1. New plug-ins allow Gelato to be used through Alias... »
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| 10|01|2004 |
By Erik Holsinger
Here Comes the Sun Adding lights to daylight shots can make all the difference in the constant fight against flat location lighting. Two recent product additions for the DP’s daylight HMI arsenal come from... »
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| 10|01|2004 |
By Sharon Kennedy
One of the most eyeball-widening moments this summer was the last car chase in director Paul Greengrass’ The Bourne Supremacy. Greengrass was actually shooting in Berlin while stunt coordinator/second unit... »
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| 10|01|2004 |
By Dan Daley
If you’re like 99 percent of producers, you think of pre-visualization as a way to hash out complex VFX shots. And you assume that you must be fluent in one of several 3D programs to previsualize anything... »
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