Toxic Norway's Oystein Larsen explains how, with a single plug-in, he keeps production looks and colors consistent throughout the DI process on the upcoming WWII epic Max Manus.... »
Apple called them "our guinea pigs". A Sony representative commented that this type of workflow had never been attempted before on one of their films. For Alex Kendrick of Sherwood Pictures, the making of the upcoming Sony/Provident Pictures movie, Fireproof, was a technical adventure.... »
A THX-certified theater is a great place to hear stuff get blown up. That's not the case with the bandwidth-challenged environment of broadcast television, even in the HD era.... »
A mind-boggling array of possibilities faced Stardust Studios (Santa Monica, CA and New York, NY) as it began production on “From 8 to 1,” the first spot in a new broadcast campaign promoting the WNBA playoffs for agency Goodby, Silverstein & Partners.... »
Armed with Red camera number 610, The Olson Brothers — that's Obin and Amariah, of Wilmington, NC's DV3 Productions — have just wrapped post on what's almost certainly the first Red production to use the camera's brand-new Adobe Premiere workflow.... »
Lots of directors are good at wrangling automobile action, but Tim Damon's dedication to the craft is impressive. Unhappy with merely renting the gear he needs for any given automotive shoot, Damon has amassed a purposeful collection of proprietary gear — much of it modified to exactly suit his preferences during a shoot — that's meant to make sure he never has to tell a client, "We can't do that."... »
Co-producers Richard Shaw and Lee Cantalon have been working all their hip-hop connections to collect material for The Wordz from the Street, a collection of original music based on the core teachings of Christianity.... »
As the summer of 2008 arrived we at the Filmworkers Club, Nashville, spent a lot of time testing and re-testing a number of different options and workflows for posting Red footage in order to handle four very different projects shot with Red that required very different workflows. One of the great things about Red is you have so many options when it comes time to post. Of course, this is also one of the most difficult things about Red. ... »
The survival show Man vs. Wild follows outdoorsman Bear Grylls through some of the harshest environments on Earth. What may be more impressive, at least to those in the production biz, is that a cameraman is undergoing the same ordeals of climbing down waterfalls, jumping out of helicopters and swimming through rivers while still shooting. DP/Cameraman Simon Reay talks about battling the elements, devising a camera package and workflow that would withstand whatever Mother Nature throws at them, and how his job, like outdoor survival itself, essentially boils down to willpower. ... »
Pineapple Express marks David Gordon Green’s entry into the world of studio productions, following four acclaimed indie films. Beneath the pot smoke and gunfire, there’s a touching vision of friendship and neediness at the film’s core.... »
Pow! Pix is making its sixth trip to the Olympics. This year it qualified for the gymnastics event, creating a variety of features, teasers and highlight packages to roll into the live broadcasts, and to re-cut footage from the events if they are not broadcast live. In order to handle the tight turnarounds and loads of HD footage, Pow Pix bought three new Avid Symphony Nitris DX systems. ... »
The titles, which play at the end of The Mummy: Tomb of the Dragon Emperor, serve as a stylish recap that draws on and pays tribute to the Chinese culture that inspired the film. F&V talked to Fong and Fuller about inspiration and execution.... »
Award-winning VFX studio Frantic Films VFX, a division of Prime Focus Group, created all that and more as lead visual effects provider for the recently released film, Journey to the Center of the Earth, the first fully live-action VFX-driven feature released in 3D. Frantic’s secret? The not-so-easy but infinitely rewarding process of developing and deploying a set of custom plug-ins for eyeon’s Digital Fusion 5, called Awake, to guide the 3D VFX workflow... »
