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| 04|01|2005 |
By Bryant Frazer
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... »
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| 04|01|2005 |
— Interviewed by Bryant Frazer
For Constantine, a comic-book inspired supernatural adventure, colorist Dave Hussey of Company 3 had to ramp up his da Vinci technique from music videos to feature-film DI.... »
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| 03|01|2005 |
Whether or not you’re actually shooting HD, odds are you’re spending a lot of time thinking about it — scrutinizing HD images, scanning the specs of different HD cameras, or actually... »
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| 02|01|2005 |
By Debra Kaufman
The New York facility Cineric has long been a destination for restoration of Hollywood pictures, buffing up some 200 titles a year. Up until recently, those restorations have been photochemical, says business development exec Chip Wilkinson. That’s about to take a dramatic turn... »
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| 02|01|2005 |
A high-def scan of Hotel Rwanda created by Hollywood’s Post Logic Studios as a DVD master became the first step toward a DI for the project... »
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| 02|01|2005 |
Interviewed by Brad Balfour
>> Zana Briski and Ross Kauffman Filmmakers On: Born into Brothels. Photographer Zana Briski began work on Born into Brothels when she gave cameras to several children of Calcutta prostitutes and tought... »
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| 12|01|2004 |
By Bryant Frazer
Knocking the resolution of a DI up from 2K to 4K can result in gorgeous screen images, but there was more to DI enhancements this year than a simple size boost. DI workflow innovations are reducing the... »
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| 12|01|2004 |
By Debra Kaufman
Every change in the filmmaking process creates ripples downstream. As digital intermediates grow in popularity, the ripples extend all the way to the archives. "It leaves us in archives with a tricky... »
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| 12|01|2004 |
By Debra Kaufman
It’s a long way between Boulder, Colorado, and Reykjavik, Iceland, but the distance is even greater between a traditional television workflow and a futuristic, data-centric all-digital pipeline. Mark and... »
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| 12|01|2004 |
Interviewed by Iain Blair
Director Michael Mann is well-known as a perfectionist, so it’s not surprising that when he started planning the shoot for Collateral, he opted to use fairly new HD camera systems, the only technology that... »
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