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Recent stories on high def production and post appearing in our other titles
More than a TV [Studio Monthly]
Improved LCD Technology, first developed and deployed in consumer televisions, finally finds its niche in the professional monitoring and display market. »
At the Touch of a Finger [Studio Monthly]
FOR-A released the MPB-100VW Video Writer, which, first shown at NAB 2008, will also be featured at the company’s booth at InfoComm 2008 (Booth C2316). »
Sony PMW-EX1 [Studio Monthly]
Wow. Yeah, I know, one-word-reviews just don’t cut it. But honestly, after a few days with Sony’s PMW-EX1 camera, that’s what I was left with. »
Three Ways to Transfer Sony XDCAM Content to Final Cut Pro [Studio Monthly]
There are three ways to move footage from the Sony PMW-EX1 camcorder to Final Cut Pro. Deciding which method to use depends on your equipment and desired file format. »
Spotlight on HD: Fast Switch [Studio Monthly]
Focus Enhancements announced a new stand-alone HD video switcher, the HX1. The switcher has active loop-through on all inputs. »
Tapeless Workflows and Gigabit Ethernet at Crawford Communications [Film & Video]
“The challenge is that each client wants to feel special,” says Ron Heidt, a senior editor and HD specialist at Crawford Communications in Atlanta, GA. He’s talking not only about the range of projects that find their home at Crawford — commercials, corporate marketing, independent filmmaking, episodic television — but about the technological demands different clients make on a facility that handles telecine, graphics, 3D, creative editorial, online conform, audio and Blu-ray all in one place. »
Making Glee Sing on Fox [Film & Video]
Glee has a split personality, says supervising sound editor John Benson, who spots the show at Technicolor Sound Services with co-supervising sound editor Gary Megregian and producer Alexis Martin. “The show is a constant contrast between the fantasy of the musical performances and the reality of a high-school drama,” he explains, emphasizing that the two never overlap. That makes the transitions from reality to fantasy and back as critical to the show’s audio as the music itself. »
Offhollywood Expands to Support Red Production as Well as Post [Film & Video]
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. »
Co-Producer Bryan Carroll on the Tech Behind Public Enemies [Film & Video]
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. »
DP Dante Spinotti on Public Enemies [Film & Video]
Public Enemies, the John Dillinger biopic directed by Michael Mann and starring Johnny Depp, Christian Bale and Marion Cotillard, is one of the summer’s most hotly anticipated films. The feature pairs Mann with his frequent collaborator, cinematographer Dante Spinotti. Spinotti shot this digitally, using the Sony CineAlta F23 camera system. Film & Video caught up with Spinotti in Australia, where he is prepping for another F23 project, The Chronicles of Narnia: The Voyage of the Dawn Treader, directed by Michael Apted. »
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• Character Animator - GrapeCity inc. WINEstudios - Sendai, Japan GrapeCity inc. WINEstudios
• Supervising Animator - Starz Animation - Toronto, Canada Starz Animation
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