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| 03|20|2008 |
Matt ArmstrongFor many years the finishing and VFX realm has been dominated by Autodesk and Quantel. Well, there’s soon to be a new option for high-end work as Imagineer Systems will soon launch mogul, an open, collaborative architecture integrating visual effects systems and desktop applications.... »
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| 03|06|2008 |
Matt ArmstrongVisual effects house Framestore NY has created large feathered creatures before in feature films but the CG pigeons in this spot for FedEx had to be done in a fraction of the time, and still wow an audience watching the Super Bowl in HD. ... »
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| 03|06|2008 |
Cinematographer Ueli Steiger talks about his shooting 10,000 BC and the new technology he used to address some uncharted territory of his own.... »
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| 02|28|2008 |
By Bob Fisher“When I first read the script for Semi-Pro, I was struck by the very intelligent story, and that made me laugh out loud every other line,” recalls Shane Hurlbut, ASC. Simultaneously, I was envisioning a look, including textures and colors that evoked the appropriate feelings for this story.”... »
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| 02|21|2008 |
Matt ArmstrongOn the indie film 3 Days Gone there were several road bumps along the way, from the camera inexplicably shutting down on set to the r3dcode codec crashing their Final Cut system. Hear from the director, cinematographer and editor about how they dealt with all these issues.... »
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| 02|14|2008 |
By Bryant FrazerFox Sports Creative Directors Mark Denyer-Simmons and Jason Scott oversaw a promo piece for Fox's coverage of the 2008 NASCAR season that revs up viewers by depicting a race set inside a massive, city-sized engine.... »
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| 02|14|2008 |
By Bryant Frazer"It is about people becoming reporters," director George Romero says. "I guess there's a collective subconscious. You've got Redacted, you've got Cloverfield, you've got Vantage Point. Everybody seems to be aware of this camera that's on us. It's like, 'I am a camera.' Everybody's a camera these days."... »
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| 01|31|2008 |
By Bryant FrazerTechnical supervisor Clark Graff devised a tapeless workflow for Captain Abu Raed, a Jordanian film produced by GigaPix Studios (Chatsworth, CA) that played in competition at this year’s Sundance Film Festival, using custom-built digital film recorders both to capture footage from the production’s Arriflex D-20 cameras and to conform the feature using Adobe Premiere Pro CS3.... »
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| 01|31|2008 |
By Bryant FrazerWhen it comes to monster movies, it's generally the monsters that get all the attention. But in the case of Cloverfield, the creature team at Tippett Studio got a big assist from the crew at Double Negative, which handled more or less every VFX shot in the film that didn't involve the monster itself.... »
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| 01|23|2008 |
Kai PedersenThis tutorial details how to use the xRef file referencing tool in Maxon Cinema 4D to manage projects so that many different animators can be working on the same project. ... »
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| 01|23|2008 |
Matt ArmstrongFor the horror/thriller One Missed Call Zoic Studios in Vancouver was charged with creating the visual effects. And then once the initial effects were down the production decided it had to go back to the drawing board to ramp up the impact of the film, leaving much of this in the hands of Zoic.... »
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| 01|17|2008 |
By Debra KaufmanThe massive number of tapes resulting from multiple 18-camera shoots of U2’s 3-hour "Vertigo" concert tour was just the beginning. The production attempted to clone the original tapes as quickly as possible. Then the edit began. And 3ality Digital Systems got into gear to solve some of stereo filmmaking's most persistent problems.... »
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| 01|17|2008 |
By Debra KaufmanRock groups don't get any bigger than U2, which brings along a thunderously entertaining stage show wherever it goes. Stereoscopic 3D production company 3ality traveled with the Dublin lads to several concert dates in Mexico and South America. What was the big idea? To make a 3D concert movie as intense and explosive as the band's performance.... »
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| 01|10|2008 |
Matt ArmstrongCreating the visual effects for the feature film Tales of the Riverbank, based off the popular 1960s British television series, required complex compositing of furry puppets shot on bluescreen, some CG set extension and characters and an intensive DI, all coordinated by Prime Focus London and its Indian sister companies in Mumbai, Chennai, Hyderabad and Parel.... »
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| 01|01|2008 |
Bryant FrazerWith one film headed to Sundance and the other in wide release this month, filmmaker Alex Gibney considers the price of objectivity, the burden of technology and the demand for documentaries in such politically charged times.... »
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