Efficient workflow, great images, on budget: these are all magic words, not just for cost-conscious producers but for the cinematographers who paint and frame the images we see on television. With a choice of HD cameras, cinematographers can now... »
"We didn’t go in trying to show every gadget we could," says David Allen, DP and series producer on PBS miniseries Deep Jungle, part of the Nature series. "It turned out to be a tour of... »
Ipostini, 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... »
In a TV landscape dominated by brightly-lit sitcoms and reality shows, the spy drama Alias stands out as another kind of animal. Shadowy and moody, the show’s cinematography gives it a feature-film ambiance... »
The Apprentice has turned out to be one of the biggest shows ever for Mark Burnett Productions, creating an unlikely new reality TV star in the shape of Donald Trump and making " You’re fired! "... »
The reason that nobody’s attempted a sitcom in 3D animation is simple. It’s because writers and producers rework dialog until the last minute, a reality that would reduce any whiz kid character rigger to... »
