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| 04|08|2008 |
By Michael GrotticelliGordon is an HD specialist/editor with lots of experience in post-production technology, having worked on various linear and non-linear systems for both film and video projects.... »
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| 04|07|2008 |
By Barbara RobertsonVisual-effects artists at CIS Hollywood worked with Clooney and production designer Jim Bissell to turn a junior-high-school football field in Boiling Springs, SC, a middle-school football field in Travelers Rest, SC, and Memorial Stadium in Charlotte, NC into ever-larger stadiums that they filled with crowds of digital people. ... »
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| 04|07|2008 |
By Bryant FrazerJason Kohn says he didn't make Manda Bala in order to raise awareness of poverty, or to effect change in Brazil. He says he made it more to challenge what he saw as hopelessly mundane, limiting ideas about what documentary films could and should be.... »
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| 04|03|2008 |
By Bryant FrazerHe's not exactly a household name, but movie buffs know Wong Kar Wai as one of the most distinctive stylists working in film today. F&V asked him about his first time working in the U.S., why digital cinema is "too perfect," and the future of film-watching.... »
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| 03|27|2008 |
By Bryant FrazerBuilding 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.... »
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| 03|27|2008 |
By Debra Kaufman“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.”... »
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| 03|27|2008 |
By Debra KaufmanFight for Life focused on the body’s ability to fight life-threatening health issues from infancy through old age, and Jellyfish’s work enabled producers to go into the body to examine trauma, all the way to the microscopic level.... »
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| 03|13|2008 |
By Bryant FrazerWhen the Kansas City Ad Club decided to change the name of its award show from the OMNI Awards to the ADDY Awards, it needed to find an easy way to make sure everyone in the local advertising community was aware of the brand switch. Kansas City ad agency Barkley turned to local post boutique Liquid 9 for a viral campaign of three animated Internet spots ... »
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| 03|06|2008 |
Matt ArmstrongVisual effects house Framestore NY has created large feathered creatures before in feature films but the CG pigeons in this spot for FedEx had to be done in a fraction of the time, and still wow an audience watching the Super Bowl in HD. ... »
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| 03|06|2008 |
Cinematographer Ueli Steiger talks about his shooting 10,000 BC and the new technology he used to address some uncharted territory of his own.... »
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| 02|28|2008 |
By Bob Fisher“When I first read the script for Semi-Pro, I was struck by the very intelligent story, and that made me laugh out loud every other line,” recalls Shane Hurlbut, ASC. Simultaneously, I was envisioning a look, including textures and colors that evoked the appropriate feelings for this story.”... »
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| 02|21|2008 |
Matt ArmstrongOn the indie film 3 Days Gone there were several road bumps along the way, from the camera inexplicably shutting down on set to the r3dcode codec crashing their Final Cut system. Hear from the director, cinematographer and editor about how they dealt with all these issues.... »
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| 02|14|2008 |
By Bryant FrazerRhinofx used 2D and 3D techniques to place CG versions of 2008-model cars into the spots, replacing the original live-action elements depicting the 2007 models.... »
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| 02|14|2008 |
By Bryant FrazerFox Sports Creative Directors Mark Denyer-Simmons and Jason Scott oversaw a promo piece for Fox's coverage of the 2008 NASCAR season that revs up viewers by depicting a race set inside a massive, city-sized engine.... »
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| 02|14|2008 |
By Bryant Frazer"It is about people becoming reporters," director George Romero says. "I guess there's a collective subconscious. You've got Redacted, you've got Cloverfield, you've got Vantage Point. Everybody seems to be aware of this camera that's on us. It's like, 'I am a camera.' Everybody's a camera these days."... »
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