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| 05|01|2005 |
By Erik HolsingerIn The Days Before The Dinosaur — And FireWire — working offline on a desktop computer always added value to video productions. Whether it was creating a rough cut before heading to the $1,000 -per-hour online... »
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| 05|01|2005 |
By Jim FeeleyOne of my favorite documentary filmmakers, direct cinema pioneer Robert Drew, frequently directed as half of a two-person crew, and usually while holding a microphone, not a camera. Although I like to shoot... »
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| 05|01|2005 |
By Linda RomanelloSome say a picture is worth a thousand words. For Ed Davenport, it was worth a whole lot more. While attending an NAB trade show several years ago, the multimedia communications technology manager for... »
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| 05|01|2005 |
By Barbara Robertson"On a show for George there are always a ton of things to do for the first time," says John Knoll. "He writes whatever he wants and assumes that we’ll figure it out. He never limits his... »
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| 05|01|2005 |
By Barbara RobertsonTalk about distance learning — from a galaxy far, far away come nine pieces of advice on shooting HD and HDCAM SR from VFX supervisor John Knoll and HD Supervisor Fred Meyers. Don’t Waste Bandwidth If you... »
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| 05|01|2005 |
By Sharon KennedyJust like Dwight needed a hardtop with a decent engine and a big trunk in director Robert Rodriguez’s visual comic book extravaganza Sin City, The Orphanage had some specific needs of its own to fit into the... »
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| 05|01|2005 |
By Alison JohnsAnyone suggesting that 3D is the way to make digital cinema a compelling and profitable experience for theater owners and filmmakers, knows he’ll encounter a few skeptics: Cinema lovers who reason that no... »
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| 04|05|2005 |
By Pete PutmanDPs, and producers working on digital intermediates for film, and they'll tell you that to best see what they're doing they need portable cinema-grade (2K) projectors, fast. Well, guess what? ... »
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| 04|01|2005 |
By Michael GrotticelliIt’s time to give the HDV (High-Definition Digital Video) format it’s due. While critics might call it "bit-starved HD," many professionals are realizing that, like its standard-definition... »
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| 04|01|2005 |
By Alison Johns"Objects in mirror are closer than they appear," is a message Charles S. Swartz, CEO/executive director of the Entertainment Technology Center at USC, likes to apply to some of the faster-moving... »
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| 04|01|2005 |
By Dan DaleyThe soft whirring of hard drives is now a common characteristic of film and video sets as production sound continues to make the transition to hard-drive systems. In a sense, the transition to hard drives is a... »
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| 04|01|2005 |
By Debra KaufmanBetter, cheaper, faster— those three demands for graphics are never, ever satisfied at the same time. But it’s still a relentless mantra in the graphics business. Until recently, Adobe Systems has also... »
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| 04|01|2005 |
By Bryant FrazerHD is slowly gaining footholds in the rarefied feature film world, with high-profile, sky’s-the-limit projects like Collateral and the Star Wars movies showing just what’s possible with the new breed of... »
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| 04|01|2005 |
By Bryant FrazerIpostini, the Marina Del Rey post house that handles Showtime’s original features, has been using Final Cut Pro for more than four years. But when it came time to cut the extravagant demon-weed musical... »
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| 03|01|2005 |
By Dan DaleyThe notion of looping music for picture, however, hasn’t gained similar traction yet, though not for lack of trying. In fact, the proliferation and pervasiveness of computer-based editing programs such as... »
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