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| 06|26|2008 |
By Bryant Frazer
Right now, Stereoscope is a post and DI facility with 3D capabilities, but in the near future Cummins plans to have a full-bore production and post company running live-action 3D movies through the pipeline.... »
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| 06|12|2008 |
By Bryant Frazer
When M2G Media in Irvine, CA, was hired by a global marketing firm to create a video piece introducing the new design for the 2009 Nissan Maxima at the New York Auto Show, M2G producer Jeff Granbery saw Red.... »
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| 05|08|2008 |
By Bryant Frazer
It's been known for a while now (at least since the 2005 release of Chicken Little) that animated films do especially well in 3D versions. But the success of recent 3D projects like U23D, and especially Hannah Montana/Miley Cyrus: Best of Both Worlds Concert Tour — which opened to a stunning $31 million weekend on a relative handful of digital 3D screens in the U.S. — has many in Hollywood taking another look at the feasibility of 3D for live action, especially on a tight budget.... »
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| 03|27|2008 |
By Bryant Frazer
Building out storage and rendering power for Hollywood projects at a new facility in Santa Monica, PostWorks executives think they see the future of the high-end television pipeline — and it looks a lot like a feature-film DI workflow. The proof of concept is its recent implementation of a datacentric, largely tapeless workflow for the five-nights-a-week HBO series, In Treatment.... »
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| 03|27|2008 |
By Debra Kaufman
“Our Final Cut workflow wasn’t just about saving money and being more efficient—which we were in a big way—but about how creative and humane a cutting room and post process can actually be in today’s environment.”... »
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| 01|31|2008 |
By Bryant Frazer
When F&V covered Vision III Imaging last fall, company founder Chris Mayhew gave us the details behind his “depth-enhancement” technology, which uses special “parallax scanning” lens adapters to capture depth information and give 2D footage an almost three-dimensional quality.... »
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| 01|31|2008 |
By Bryant Frazer
Technical supervisor Clark Graff devised a tapeless workflow for Captain Abu Raed, a Jordanian film produced by GigaPix Studios (Chatsworth, CA) that played in competition at this year’s Sundance Film Festival, using custom-built digital film recorders both to capture footage from the production’s Arriflex D-20 cameras and to conform the feature using Adobe Premiere Pro CS3.... »
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| 10|24|2007 |
By Bryant Frazer
Gone Baby Gone was originally set up with an SD editorial pipeline — but director Ben Affleck was unhappy with what he saw, and wondered if there was a way to upgrade the resolution of his images. Enter Runway, a Culver City, CA-based technology provider that re-engineered his editorial workflow to accommodate Avid's DNxHD 175 HD codec. The challenge was not just setting up the hardware and storage that could handle the increased bandwidth requirements, but in picking up where the SD-based process had left off. F&V interviewed Daniel McGilvray, senior systems engineer and tech department supervisor at Runway, by email to get the details.... »
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| 08|23|2007 |
By Bryant Frazer
Toronto’s FrameBlender is a three-year-old Toronto production and post facility that went all-HD in 2006. It wasn’t a difficult transition, but the company decided it need to upgrade its pipeline from a more ramshackle approach involving a mix of different technologies to a disciplined SAN solution — a Terrablock 24D with 9.6 TB of storage capacity. ... »
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| 07|26|2007 |
By Debra Kaufman
On July 19, Hollywood post production facility Post Logic Studios announced the launch of its Image Science Division. Headed up by Dr. Mitch J. Bogdanowicz and Denis Leconte, the new division will offer Post Logic clients “the assurance of consistent color management across every stage of a production, regardless of acquisition format or output medium.” ... »
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