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| 12|20|2006 |
By Barbara Robertson
Filmmakers rarely rely on visual effects to tell humble stories, but the gentleness of the new film version of Charlotte’s Web depended largely on the artists who made the talking live-action and CG animals believable.... »
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| 10|19|2006 |
By Dan Daley
"That [Aston Martin] DBS was sensational. Shame we had to crash it."... »
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| 10|18|2006 |
By Bryant Frazer
Award-winning commercial director Ali Selim didn't find a clear path to the world of moviemaking. ... »
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| 10|05|2006 |
By Bryant Frazer
When was the last time you cut a spot on a folding table set up on the deck of an aircraft carrier?... »
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| 09|20|2006 |
By Bryant Frazer
On a recent series of spots directed by Mark Romanek for the Acura RDX, cinematographer Jeff Cronenweth found himself shooting snippets of footage that would be intercut with computer animation showing the car in various imaginary environments.
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| 09|20|2006 |
By Bob Fisher
Vilmos Zsigmond has earned three Oscar nominations, taking top honors for Close Encounters of the Third Kind. The Black Dahlia was his 74th narrative film and his first experience with both Super 35 and a digital intermediate.... »
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| 09|07|2006 |
By Bryant Frazer
American Rogue's new "Citizen Soldier" cinema spot mixes 35mm, HD, and other formats to create a mini-documentary on the National Guard in two minutes flat.... »
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| 08|02|2006 |
By Barbara Robertson
Thrust into the jaws of a production with a short post schedule, Digital Domain powered through 220 effects shots for My Super Ex-Girlfriend.... »
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| 07|24|2006 |
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.... »
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| 07|12|2006 |
By Debra Kaufman
When a Lexus executive told his ad agency that the next step in promoting the Lexus IS would be taking one of the car's TV spots to the big IMAX screen, they took the spot to Fotokem, which gave the spot the 4K treatment.
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