Film & Video asked JC Bond, additional editor on Alice in Wonderland, about the challenge of managing massive quantities of footage, and found out why Alice might look ever so slightly different depending on where you see it.... »
The upcoming OceanWorld 3D, produced by Francois and Jean-Jacques Mantello of 3D Entertainment, in collaboration with Disneynature, uses 3D and the narrative of a migrating turtle to transport viewers to seldom-seen underwater societies.... »
Jesse Warren and Mark Gantt wanted creative control over their next project and, ultimately, their careers. So they created a slick, feature-worthy Web series from the ground up, complete with a marketing plan, cross-promotional tie-ins and top talent. Sony Pictures Television bought the show, which was shot on RED with a limited budget, to headline its Crackle.com network. Now it's headed for feature release on DVD and TV. How did they do it?... »
3 Dart broke down the human gestation period into seven animated segments each covering between two and four weeks in the process, starting from about a week after conception and finishing off with labor and delivery.... »
Amelia is director Mira Nair's new biopic retelling the story of aviation pioneer Amelia Earhart, who disappeared over the Pacific in an attempted around-the-world solo flight. Toronto's Mr. X delivered 277 shots that not only helped put Earhart — played here by Hillary Swank — in the air, but helped maintain the necessary illusion of a period piece.... »
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.... »
I first saw the original The Taking of Pelham One Two Three in 1981 when it was shown on WNEW (now WNYW) on Thanksgiving Day. It was about the same time I started taking the subway alone, and needless to say at 11 years-old the movie made a lasting impression on me. It was therefore a great thrill to sit down with Chris Newman, the sound mixer of the original Pelham, and Tom Nelson, the sound mixer of the most recent Pelham to talk about their approach to recording each movie, and how movie-making has changed in the intervening 34 years.... »
Vancouver's Image Engine completed 311 visual-effects shots for the film, with the responsibility of animating three main characters as well as the larger numbers of aliens populating the film. So how did a largely unheralded Vancouver VFX facility land the job of creating amazing CG aliens for one of the coolest movies of the summer?... »
The release of director Shane Acker’s computer-animated feature film 9 has been a long time coming. It started life as a short that won best of show at the SIGGRAPH 2005 Electronic Theater and the gold medal for animation in the Student Academy Awards. Even better, the short "9" caught the attention of director Tim Burton who, along with Timur Bekmambetov, signed on to produce a feature-film version.... »
Squyres and Fay talk about how it all came together—including the evolution of Squyres’ long-time collaboration with Lee—and how HD has both simplified and complicated the editing process.... »
Ang Lee’s Taking Woodstock takes a turn away from the darker themes of his Brokeback Mountain and Lust, Caution, telling the story of Eliot Tiber (Demetri Martin), who wound up arranging for the Woodstock rock festival to take place on a farm in upstate New York. Shot in 35mm by Eric Gautier, the light-hearted film captures the sunny tones of a summer in the Catskills. Film & Video talked with Lee about hippie training camps, the influence of Jean-Luc Godard’s Weekend, and why he hasn’t yet worked with video.... »
.gif)
