In 1994, Pamela Martin edited director David O. Russell's first film, Spanking the Monkey, which was also her first feature as a lead editor. She got her start assisting Tim Squyres and Ang Lee for Lee's first two features, Pushing Hands and The Wedding Banquet, only a few years earlier. She has since edited a string of sharp, dialogue-driven comedies with stellar ensemble casts, notably Little Miss Sunshine. In a slight shift in genre but a return to her roots, she and Russell joined forces for this year's multi-nominated ensemble drama, The Fighter.... »
We caught up with Cohen, nominated for an Academy, BAFTA and ASC award for his principal photography on the celebrated film, to find out how under Hooper's direction during a winter shoot in London last year he captured the project's nuanced and equally celebrated performances and how 35 mm, the right lenses and a few well-chosen rigs and locations helped him do it.... »
Avid is once again grabbing for a bigger share of the open-workflow editing pie. Today, the company released significant point-version upgrades of Media Composer, Symphony and NewsCutter just ten months after the release of its major Media Composer 5 overhaul last April.... »
The Studio Group’s first-ever Screen Genius Awards honors individual creative achievement in production and post across the small and large screen. These winners were selected from a multitude of submissions and judged by StudioDaily editors... »
Rob Engle, 3-D Visual Effects Supervisor at Sony Pictures Imageworks in Los Angeles, served as visual effects supervisor for the 3D version of the 2009 animated Disney film G-Force. Engle recently was awarded our Screen Genius Award for his contribution in bringing anamorphic guinea pigs to life in the film, specifically for his skill in synthesizing 3D in post and streamlining production as a result. A team of 300 artists and four effects facilities took on the gargantuan task of synthesizing a 3D environment using 2D plate photography and 3D assets, says Engle. The resulting animation and effects pipeline let the on-set team shoot with standard 2D rigs, a much more fluid choice than many of today's bulkier 3D rigs for shooting scenes that range in scale from pint-sized close-ups to full-scale action scenes.... »
Michael Waldron, nailgun*'s creative and live action director, shares the experience of shooting the show open for Girls Next Door in Hef's house.... »
When the makers of Sesame Street were considering whether to make certain elements of the show digital its main concern was to keeping the look and feel of the Sesame Street puppets in CG. For director Jan Carlee and the animation team at SpeakeasyFX, tasked with creating 13 nine-minute digital episodes along with footage for online games that will begin appearing within the Sesame Street show in November, this presented a number of challenges, not the least of which was creating hair and fur that moved dynamically on these characters.... »
