08|02|2006

Editor Scott Hill on Evan Almighty and the Lightworks Alacrity

By Bryant Frazer

Scott Hill, a Lightworks editor, is settling in for post-production after wrapping principal photography on Evan Almighty. He told us he values speed in the cutting room: "I never want to tax a director’s patience waiting for me to put stuff together. I want to be as fast as I can, and this, I think, helps me to be faster."...  »
07|24|2006

Dariusz Wolski on Arrrrrrtistry and Technology

By Bryant Frazer

Dariusz Wolski, a director of photography whose resume includes such highly stylized projects as The Crow, Dark City and The Mexican, approached Pirates of the Caribbean: Dead Man’s Chest much as he would any other project. Owing to new technology from ILM, the motion-capture process was more advanced and less onerous than ever before, and the strategy during production was to get as much as possible in the camera, on real, remote locations, without resorting to soundstage work....  »
06|05|2006

DIT Dave Satin on Strategies for Shooting and Post

By Bryant Frazer

Dave Satin on developing HDV workflows for reality TV, why film prints are still important to digital cinema, and working for Michael Mann...  »
06|05|2006

D.P. Rodrigo Prieto on Shooting Babel

By Debra Kaufman

We used different formats — some 16mm, some 35mm and another section with anamorphic. All of it is in the 1.85 aspect ratio, even though we shot with anamorphic lenses. We were going for different textures, different film grain to represent one of the stories ......  »
05|09|2006

Music Video Maestro Marc Webb

By Bryant Frazer

If you've watched music television at all in the last 18 months, you've almost certainly seen a video directed by Marc Webb. His work is unified by a propulsive sense of rhythm and a consistent engagement with his artists and their audience....  »
05|04|2006

VFX Vet Lee Wilson on Big Chills for the Small Screen

By Bryant Frazer

...  »
04|25|2006

From NAB, Editor Ed Ornelas on Grey’s Anatomy

By Bryant Frazer

Each episode of Grey’s Anatomy, shot on 3-perf 35mm with two cameras, takes eight to 10 days to shoot, generating around two to two and a half hours of dailies. The editorial crew – three editors and three assistants – works with the footage on six Media Composer 11.2.1.7 systems with about 2 TB of storage. ...  »
04|03|2006

Director Gaby Dellal on Battling the Tide

By MaryAnn Johanson

After racking up an impressive track record as a maker of festival-favorite shorts, British director Gaby Dellal is about to hit screens with a feature debut. ...  »
03|31|2006

Doing DI the Hard Way on Hard Candy

By Bryant Frazer

Hard Candy is one of the first movies to credit its digital colorist — Jean-Clement Soret of London’s Moving Picture Company — in the opening titles instead of the end-credit scroll....  »
03|01|2006

Kwesi Collisson on Split Screens, Special Effects and the New Desktop Arsenal

By Bryant Frazer

Kwesi Collisson is one of those guys who seems to do everything -- he's a producer who understands money, but also a crack editor and compositor who likes to get hands-on with his projects....  »

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