subscribe Email a Friend
News Training Technology Technique Mini-sites Resources Jobs Blog Store


Studio/Direct

We're inaugurating an exciting new feature at Studio Daily: Podcasts from the Front Lines, a series of interviews with leading talent on current feature films who share their stories from the filmmaking trenches. We're proud to have the much-admired journalist Michael Goldman — author of John Wayne: The Genuine Article, Clint Eastwood: Master Filmmaker at Work, longtime senior editor at Millimeter magazine, and currently a regular contributor to American Cinematographer, among other publications — providing his expertise to these special presentations, which will incorporate multimedia elements alongside his insightful and revealing conversations with top directors, cinematographers, editors and more.

For the first edition, Michael interviewed cinematographer John Schwartzman, ASC, about Jurassic World, which broke box-office records worldwide when it opened earlier this month. There's plenty to talk about, and Schwartzman offers insight into key decisions on the project, including the reasoning behind shooting on film, the need to cope with unpredictable weather when shooting exteriors in Hawaii, and the selection of an unusual aspect ratio.

These podcasts will be a monthly feature at StudioDaily, with the schedule accelerating later in the year as Oscar season heats up and we go in-depth with some of the leading awards contenders. Keep an eye on your email for more links to Podcasts from the Front Lines, and enjoy these new perspectives on the art and craft of filmmaking.

Until next time …

— Bryant Frazer, editorial director
contact

 


Jurassic World

Podcasts from the Front Lines: 
John Schwartzman, ASC, on Jurassic World

How and Why It Was Shot on Film, the Many Technical Challenges, and the Efforts Filmmakers Went to in Order to Make Sure the Film Paid Tribute to its 1993 Parent

read more »

 
 

sundance 2014 video

 [content category="10" element="link" offset="0"] [content category="10" element="link" text=">>" offset="0"]
 [content category="10" element="link" offset="1"] [content category="10" element="link" text=">>" offset="1"]
 [content category="10" element="link" offset="2"] [content category="10" element="link" text=">>" offset="2"]
 [content category="60" element="link" offset="1"] [content category="60" element="link" text=">>" offset="1"]
 [content category="60" element="link" offset="2"] [content category="60" element="link" text=">>" offset="2"]

more video >>



                                   – Jobs Board Home >>

 
 
news discussion

 [content placement="headlines" element="link" offset="1"] 
 [content placement="headlines" element="link" offset="2"] 
 [content placement="headlines" element="link" offset="3"] 
 [content placement="headlines" element="link" offset="4"] 
 [content placement="headlines" element="link" offset="5"] 
 [content placement="headlines" element="link" offset="6"] 
 [content placement="headlines" element="link" offset="7"] 
 [content placement="headlines" element="link" offset="8"] 
 [content placement="headlines" element="link" offset="9"] 
 [content placement="headlines" element="link" offset="10"] 
 [content placement="headlines" element="link" offset="11"] 
 

StudioDaily Blog >>
[content category="64" element="link" offset="0"]
[content category="64" element="abstract" offset="0"] [content category="64" element="link" offset="0" text=">>"]

[content category="64" element="link" offset="1"]
[content category="64" element="abstract" offset="1"] [content category="64" element="link" text=">>" offset="1"]

You said it…
I love the video qualities of the 1-inch sensor, but I also worry that the incredibly slow focusing within camera using the built-in assistance prevents me from [using it in] many of the run-and-gun situations I'd like to use the camera for. >>
 

studio top ten
[content placement="top10" element="link" offset="0"] | [content placement="top10" element="link" offset="1"] | [content placement="top10" element="link" offset="2"] | [content placement="top10" element="link" offset="3"] | [content placement="top10" element="link" offset="4"] | [content placement="top10" element="link" offset="5"] | [content placement="top10" element="link" offset="6"] | [content placement="top10" element="link" offset="7"] | [content placement="top10" element="link" offset="8"] | [content placement="top10" element="link" offset="9"]
quotable:

My real value [at ILM] is knowing who to call and who to crew. I’ve always enjoyed supervising people, and I’ve always enjoyed the crews. I look for people who are smarter than me, to give them tasks I can’t do. I fight for people I know will be successful. And … you always look upward. From the moment I came here, I was being pushed up a little bit for the next show. Lead this. Supervise that little section. Take the next step.
 
— Craig Hammack, Co-VFX Supervisor, Tomorrowland
 
Advertise with us
homenewstrainingtechniqueresourcesclassifiedscontactaboutprivacy

%%PLUGIN_UNSUBSCRIBE: 311615-Direct eletter optout%%