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| 11|01|2006 |
By Bryant FrazerSee Atmosphere's work (with and without audio commentary) and read the article to learn more about what went into managing workflow for Battlestar Galactica's biggest spectacle to date.... »
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| 10|27|2006 |
By Matt ArmstrongAfter post production had been halted for nearly a year on One Night With the King it suddenly ramped up, leaving Fred Paragono, chief engineer/owner for Paragon Studios under a month to fly to Moscow to record the score written by acclaimed composer J.A.C. Redford, return to his studio in Franklin, Tenn. To mix it and then fly out to LA to oversee aid the final mix of the film in time for its Oct. 13 release date. ... »
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| 10|13|2006 |
Editor Robin Burchill of editorial house Chemistry in NYC walks through her decision-making process on two high-profile comedy commercials. ... »
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| 10|05|2006 |
By Bryant FrazerWhen was the last time you cut a spot on a folding table set up on the deck of an aircraft carrier?... »
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| 10|05|2006 |
By Debra KaufmanThe fact that Superman Returns was the first major film to be shot entirely with the Panavision Genesis camera made the news. But behind the scenes was another, equally significant first: the all-data post-production pipeline.... »
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| 09|12|2006 |
By Matt ArmstrongWhen out for long voyages on the ocean you have to be prepared to do virtually everything on board. Somehow this also includes shooting multiple cameras, tapeless, uncompressed acquisition from a video camera not designed for such a workflow, and editing right on deck. ... »
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| 09|07|2006 |
By Bryant FrazerAmerican Rogue's new "Citizen Soldier" cinema spot mixes 35mm, HD, and other formats to create a mini-documentary on the National Guard in two minutes flat.... »
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| 09|01|2006 |
By Donald BerubeAfter finishing an HD shoot that took our production company to a number of outdoor locations along the Massachusetts seacoast, I started to wonder: What kind of underwater HD shooting is taking place in the New England area? ... »
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| 08|17|2006 |
By Matt ArmstrongIn this video from SIGGRAPH, joint head of 3D at visual effects company The Mill, Jordi Bares, explains how they used Massive software to created billions of bodacious beauties for Lynx antiperspirant.
The :60, directed by Frederick Bond via MJZ, features hundreds of thousands of blondes, brunettes and Asian women flocking from all corners of the earth to capture the ultimate prize: a man scented with Lynx.
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| 08|02|2006 |
By Bryant Frazer"You don’t have as much flexibility, but you have to keep in mind — you’re shooting with a $5,000 camera. You have to be cognizant of that.”... »
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| 07|24|2006 |
By Bryant FrazerWe talked to VFX supervisor John Knoll about his work on the set of Dead Man’s Chest, and then we corralled director of photography Dariusz Wolski to ask how CG images affect his visual strategy — or if they do at all.... »
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| 07|24|2006 |
By Bryant FrazerDariusz Wolski, a director of photography whose resume includes such highly stylized projects as The Crow, Dark City and The Mexican, approached Pirates of the Caribbean: Dead Man’s Chest much as he would any other project. Owing to new technology from ILM, the motion-capture process was more advanced and less onerous than ever before, and the strategy during production was to get as much as possible in the camera, on real, remote locations, without resorting to soundstage work.... »
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| 07|24|2006 |
By Bryant FrazerIt figures that the guy who invented Photoshop (with his brother, Thomas) would figure out a unique way to create a CG character. And so John Knoll, the VFX whiz who’s been inventing new ways to get a special effect throughout his professional career, saw Pirates of the Caribbean: Dead Man’s Chest as an opportunity to implement a new process for grabbing motion-capture data during principal photography.... »
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| 07|20|2006 |
By Beth MarchantThe Inner Life of a Cell, an eight-minute animation created in NewTek LightWave 3D and Adobe After Effects will run for three days during the 33rd annual SIGGRAPH exhibition and conference in Boston next month.... »
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| 07|12|2006 |
By Debra KaufmanWhen a Lexus executive told his ad agency that the next step in promoting the Lexus IS would be taking one of the car's TV spots to the big IMAX screen, they took the spot to Fotokem, which gave the spot the 4K treatment.
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