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| 07|10|2006 |
By Dan Daley
Nobody's getting more from their money than the makers of films in the burgeoning Christian cinema segment. Audio post specialist Nick Palladino tells us how The Second Chance broke new ground in budget audio.... »
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| 06|05|2006 |
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 ...... »
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| 05|29|2006 |
Interviews by Bryant Frazer
Enamored of the super-compressed output from a Sony DSC-T1 digital still camera, director Jason Reitman blew it up to 35mm for Thank You For Smoking. We asked (via email) why he did it, and how his editors handled the task.... »
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| 05|16|2006 |
By Barbara Robertson
Not-blue blue-screen work, state-of-the-art fluid simulation and rigid-body simulation, and a boatload of digital stuntpeople help make a disaster to remember.... »
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| 04|13|2006 |
By Bryant Frazer
"There's nothing worse in the world than watching a short film that feels like it's too long."... »
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| 04|10|2006 |
By Bryant Frazer
Freelance cameraman Mark Falstad decided to head up north to shoot documentary footage of the Iditarod in Alaska with the new PDW-F350, the more expensive of two XD HDCAM options from Sony.... »
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| 04|03|2006 |
By Barbara Robertson
“We had to do the movie in half the time,” says director Carlos Saldanha.... »
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| 03|31|2006 |
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.... »
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| 03|31|2006 |
By Dan Daley
You would have to be of a certain age to understand the full subliminal
effect of the sound design for The Notorious Bettie
Page. ... »
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| 03|01|2006 |
By Bryant Frazer
Looking at the rich, detailed, color-saturated images displayed on D.P. James Weber’s video monitor on the set of Temps, it’s hard to believe they come from the unassuming camera he’s using, which looks just like a DVCAM. ... »
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