Editor Robert Bramwell is not using hyperbole when he says that a large majority of editors have been stuck in an archaic, inefficient approach to their projects that cost time, money and possibly their reputations... »
While new Sci-Fi series Sanctuary premiered earlier this month, it wasn’t on any TV network. Rather, the show, which stars several familiar faces from Sci-Fi Channel’s popular series Stargate SG-1 (including Amanda Tapping and Christopher Heyerdahl), made its debut on May 14—as an online-only webisodic series.... »
The 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. ... »
Six field video crews, equipped with ten Panasonic P2 HD cameras and 150 8GB P2 cards, hit the trails last month to capture, for the first time, the Iditarod Trail Sled Dog Race in high definition.... »
With 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. ... »
Rainmaker’s Visual Effects Supervisor Mark Breakspear led the 150-person team that filled 3D stadiums with digital crowds and gave the four main actors Olympic-class skating moves — or rather, convinced the audience these skaters, not their stunt doubles, could perform an Olympian’s triple salchows, double axels, spins, lifts, and spirals.... »
Working 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.... »
Film & Video asked visual effects producer Arin Finger and creature supervisor Corey Rosen about working with the Korean production team, the creature’s complicated rigging system, and how The Orphanage’s VFX knowhow helped the production keep its CG budget under control.... »
Jeremy 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. ... »
For 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. ... »
In the new spot for BMW, the directorial duo of Nick Thornton-Jones & Warren Du Preez from production company Wanted Films transformed their signature style of painting with light that has garnered them acclaim in the print world into the realm of motion pictures, a move that was fraught with creative and technical challenges. ... »
Pushpins turned killer bees. This was the concept awarded to Crash & Sue's to create the series of vignettes for The Show, the Advertising Federation annual award ceremony, AdFed, which honors the state’s best in advertising and design. ... »
Editor David Checel is a veteran in the music videos and commercials but is relatively new to cutting features. Before embarking on Stomp the Yard he had a few straight-to-video feature films under his belt and cut many of the dance/action scenes in Idlewild. But his experience in music videos, and, to a degree, commercials, proved invaluable when attempting to handle the enormous dance sequences on this feature film. ... »
