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| 01|01|2006 |
By Beth MarchantCan high-def footage, shot in a compressed format at 720p/30, survive the rigors of extreme conditions and remote travel and make it safely out to HD, SD and film? Documentary filmmaker Andrew Young, armed with JVC’s GY-HD100U, decided to find out.... »
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| 01|01|2006 |
Every time director/writer John Stimpson went walking on part of his
property on Wachusett Mountain in Massachusetts, he thought about the
local legend of a haunting that many of his friends claimed to have
experienced.... »
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| 01|01|2006 |
Lew Wasserman was the last of a breed: an old-school Hollywood film
mogul with a spectacular rise and fall. His story intrigued Barry
Avrich, president of Toronto-based advertising agency Endeavor, who has
a track record of directing documentaries about unusual people.... »
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| 01|01|2006 |
By Debra KaufmanWhat attracted everyone to work on Stephanie Daley—
including leads Tilda Swinton and Amber Tamblyn — is what
cinematographer David Rush Morrison calls "an amazing script."... »
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| 01|01|2006 |
By Debra KaufmanTo launch the Scion xA hatchback, Attik director/co-founder Simon Needham was charged with creating a compelling spot aimed at young adults by emphasizing the car’s look and luxury options, from hubcaps to... »
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| 12|15|2005 |
By Matt ArmstrongPerforming a convincing magic trick depends on how well things can be hidden, moved and replaced before the eye can detect the deception. Similarly, creating photorealistic CG effects is a balance of making it look as good as possible and then using any elements – dark lighting, dust, quick cuts or distancing the subjects from the camera – to mask the fact that it is largely an illusion.... »
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| 12|01|2005 |
By Barbara RobertsonWhen principal photography began on the film Jarhead , the visual effects crew at Industrial Light & Magic expected they would create 89 shots during a scheduled 10 weeks of post-production. ... »
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| 12|01|2005 |
By Larry GetlenWhen you’re trying to capture the feel of a specific place on film, it makes sense to go on location and soak up the atmosphere. But when Memoirs of a Geisha director Rob Marshall headed to Japan in search of some early 20th Century flavor, he found the region just felt too modern to work... »
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| 12|01|2005 |
By Bryant FrazerCinergy Creative’s Leslie Allen has learned how to squeeze value out of a project from both sides of the camera. This year, leveraging a background in commercials and VFX he tackled his first feature-film project... »
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| 12|01|2005 |
By Bryant FrazerFor Stefan Sonnenfeld, the image impresario at the helm of Company 3, working in high-resolution became the rule, rather than the exception, this year. ... »
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| 12|01|2005 |
By Bryant FrazerWorking in TV means looking at all the angles to simplify a hectic workflow. When your parent company mandates that all your programming be archived to film, your SD deliverables become HD and the angles multiply.... »
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| 12|01|2005 |
By Barbara RobertsonIndustrial Light & Magic’s move to a new, four-building complex on 23 acres of parkland near the Golden Gate Bridge gives it more than a nice view. ... »
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| 12|01|2005 |
By Barbara RobertsonVFX supervisor Joe Letteri has won two Oscars, a Technical Achievement
Award, and an Oscar nomination in the past three years at Weta Digital.
Now, he’s doing something really big: Peter Jackson’s King
Kong.... »
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| 12|01|2005 |
By Thomas JamiesonAfter the edit had been finished on @radical.media’s 35mm footage for the Microsoft Windows XPA spot "Soccer," the goal was to tell the rest of the story with graphics. An on-screen narrator talks... »
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| 11|30|2005 |
By Bob FisherIt shouldn’t come as a surprise that Ron Garcia, ASC is exploring new options for creating nuanced images that are artfully weaved into the stories told each week on the CBS television series Numb3rs... »
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