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| 05|24|2007 |
By Bryant FrazerFor a set of high-octane show openers for ESPN's NASCAR coverage, The Syndicate intercut animated races featuring colorful CG cars with super-glossy live-action footage from the Arri D-20. Watch the package, below, then read our interviews with The Syndicate's creative director, David Hwang, on the ideas behind the animation, and with FX supervisor Ben Grossman on the decision to use the D-20 and its implications for the pipelines for TV spots.... »
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| 05|21|2007 |
By Debra KaufmanOusama Rawi started his career in cinematography in the U.K. shooting newsreels for TV, but soon went freelance and began shooting commercials and feature films out of London. ... »
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| 05|10|2007 |
By Bryant FrazerThe post-production gurus behind Next say it's the first studio feature to be edited entirely in HD using Avid's DNxHD codec — and they figure it represents the latest forward leap in post workflow. ... »
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| 05|10|2007 |
By Bryant FrazerAfter 15 years in the business of cutting episodic TV, editor Farrel Levy has figured out a thing or two about getting inside someone's head. That's her job — making sure an audience understands not just the narrative, but the psychology behind the story. ... »
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| 05|10|2007 |
By Bryant FrazerChris Keighly, who joined Post Logic Studios last year as a telecine assistant after cutting his post teeth at Technicolor Creative Services, has been named technical supervisor of Post Logic's New York facility. The job gives him oversight over all projects completed at Post Logic in New York — mainly commercial spots that take advantage of color-correction and conform for HD — and charges him with make sure the post and DI pipelines are up to snuff.... »
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| 04|26|2007 |
By Bryant Frazer“I’ve heard stories,” said Jeff Roth, VP of Post at Focus Features, “about DPs sitting in a little black tent getting the look of the movie instead of actually shooting the movie.”... »
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| 04|26|2007 |
By Dan Daley“I do pretty sophisticated post-production. I just happen to do it in my living room.” ... »
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| 04|09|2007 |
By Matt ArmstrongWith each season of Smallville, the visual effects get more elaborate while the production schedule remains fixed. Entity FX, which recently celebrated the completion of its 100th episode, keeps pushing the limits as seen in their work creating CG phantoms that attack Superman in the Phantom Zone. ... »
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| 04|01|2007 |
Jeff Parkin and David GeistThe director and assistant editor of the upcoming film Together Again for the First Time explain how they used an iPod and Final Cut Pro for video playback during production of the indie feature. ... »
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| 03|29|2007 |
By Bryant FrazerWorking with editor Bernat Villaplana on post for the acclaimed Spanish film, Schiff had to organize an editorial process that involved assets moving between Spain, Mexico, and California — with a DI in Toronto.... »
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| 03|27|2007 |
Matt ArmstrongDirector Johanna Andersson of FilmTecknarna talks about creating a dollhouse in 3D for the music video "Birds Are Singing" for the Swedish band Consequences. ... »
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| 03|14|2007 |
Linda RomanelloProduction studio Digital Domain recently put a twist on a familiar scenario in a TV spot produced for Pepsi-Cola’s new Amp energy drink. Crumbled pieces of paper mystically come to life and attack their creator.
Special Effects Supervisor Fred Raimondi used Lightwave, Flame and Maya on the project that blends CG with live action.... »
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| 03|14|2007 |
By Bryant FrazerWhen producer Jonathan Murray started looking to bring back MTV’s venerable reality series Road Rules, which went off the air several years ago, he knew the show would need a new hook.... »
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| 03|09|2007 |
Matt ArmstrongJeremy Hunt, owner/director of the boutique visual effects house Screaming Death Monkey had long known Chris Watts, the visual effects supervisor on 300. So when it came time to choose vendors to work on the film, a company as small as Screaming Death Monkey was granted the rare opportunity to work on a big budget film. Of course opportunity is what you do with it. ... »
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| 03|09|2007 |
By Matt ArmstrongFor visual effects design heavyweight Grant Freckelton, who served as visual effects designer on Harry Potter and the Goblet of Fire and as visual effects art director on The Matrix Reloaded, the chance to work on a test shoot led to his dream job as the VFX art director on 300, based on the Frank Miller graphic novel and directed by Zack Snyder. ... »
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