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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|09|2006 |
By Barbara Robertson
How do you (quickly) fill a stadium with 3500 people — while letting the director shoot with a moving camera, from any angle — without busting a low budget?... »
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| 03|01|2006 |
By Barbara Robertson
Stu Maschwitz, CTO at The Orphanage, joined the then-fledgling studio immediately after its launch in 1999. His goal, along with the other founders, was to maintain a creative “one person, one shot” philosophy. So what happened when practical considerations met idealism?... »
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| 03|01|2006 |
By Thomas Jamieson
Kettle of Fish went through a DI on the PC, saving the filmmakers thousands of dollars.Producer and co-founder Mark Pederson and his team are disproving the
idea that digital intermediate finishing is an exclusive and expensive
art.... »
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| 02|14|2006 |
By Debra Kaufman
The new MTV show My Own is an unusual hybrid of reality and dating show with a streak of karaoke. Much like the show, the production and post workflow is als0 a hybrid of disciplines.... »
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| 02|01|2006 |
By Bryant Frazer
When director Simon West approached his friend, cinematographer Peter Menzies Jr., about shooting his new thriller, a remake of 1979’s When a Stranger Calls, he had a simple proposition — he needed Menzies to make a $15 million thriller look like a glossy, $80 million Hollywood movie.... »
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| 01|01|2006 |
Lew Wasserman was the last of a breed: an old-school Hollywood film
mogul with a spectacular rise and fall. His story intrigued Barry
Avrich, president of Toronto-based advertising agency Endeavor, who has
a track record of directing documentaries about unusual people.... »
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| 01|01|2006 |
By Debra Kaufman
What attracted everyone to work on Stephanie Daley—
including leads Tilda Swinton and Amber Tamblyn — is what
cinematographer David Rush Morrison calls "an amazing script."... »
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| 01|01|2006 |
By Bryant Frazer
Cinematographer Robert Elswit has had quite a year. With two high-profile projects playing on theater screens during Oscar season, he’s become the go-to guy for socially conscious drama — on both Syriana and the monochromatic Good Night, and Good Luck... »
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| 01|01|2006 |
By Sharon Kennedy
Directors Joseph Kahn (Torque) and Rob Cohen (The Fast and the Furious,
Stealth) teamed with VFX house Digital Domain
(Venice, CA) to deliver effects-heavy spots for Saab that capitalize on
the car-maker’s background in aviation engineering.... »
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