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Cinematography | Film Fading to Black
ARRI, Panavision and Aaton have all quietly ceased production of their film cameras to focus exclusively on the design and manufacture of digital cameras. Film? Fade to black.
Editorial, Feature
Debra Kaufman |
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Cinematography | Inside HBOs The Wire
Set in Baltimore, Maryland, The Wire will begin its fifth and final season in January 2008 on HBO. As different from standard TV as it gets, the show has received the highest levels of critical acclaim, being referred to by multiple reviewers as the best show on television. In its last issue of 2006 Time Magazine ranked The Wire first on its list of 10 Best TV Shows. And Finally recognized as the best series on TV. Sorry, Tony (Soprano), was Newsweeks description. Creative COWs Nick Griffin spent time on set earlier this year and interviewed one of the shows Producers. Heres his inside glimpse into The Wire and its production.
Editorial, Feature, People / Interview
Nick Griffin |
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Cinematography | Restoring Martin Scorsese's Taxi Driver in Sony 4K Digital Cinema
As a landmark in American film history celebrates 35 years, Sony Pictures Entertainment leads a cutting-edge 4K restoration for Blu-ray and limited theatrical re-release. Debra Kaufman joins the COW team with an exclusive in-depth article describing the restoration of Taxi Driver in Sony 4K Digital Cinema for its 35th anniversary.
Feature, Project
Debra Kaufman |
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Cinematography | Hugo and The Joy of Filmmaking
In this expanded version of the article from Creative COW Magazine, VFX Supervisor and 2nd Unit Director Rob Legato shares some of the secrets of a tribute to the love of making and watching movies, and insights into two filmmaking masters. All of us at Creative COW congratulate Rob on his Academy Award nomination for his visual effects work on Hugo.
Feature, People / Interview
Rob Legato |
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Cinematography | 4K DI on The Girl With The Dragon Tattoo
Re-teaming with director David Fincher after their successful collaboration on The Social Network, Michael Cioni and the team at Light Iron built 5K workflows for real time, full resolution post for Fincher's The Girl With The Dragon Tattoo. The running time of the 4K print is 2:38, creating a data size larger than six 2K features combined. Cioni and Light Iron co-founder Ian Vertovec spoke to Creative COW's Debra Kaufman about how working that way in real time is even possible, working with David Fincher, and what frame sizes larger than 4K mean for all of us.
Feature
Debra Kaufman |
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Cinematography | Relax, and Quit Bluffing
Paul Stephen Carlin delves into 35mm film framing and aspect ratio, with the idea that "Once you understand the history of 35mm's evolution, you have a good foundation for learning about the future."
Feature, People / Interview
Paul Carlin |
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Cinematography | Time Lapse Video Secrets: HD and Beyond with your Digital Camera
You already know that your digital camera has higher-than-HD resolution -- even higher than film res sometimes -- and the pictures can look amazing. It turns out that your still camera actually works better than an HD video camera for creating time-lapse photography. Marco Solorio tells you how to put it all together.
Tutorial, Feature
Marco Solorio |
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Cinematography | Looking for film look? Shoot like film!
Film look software will never offer the same impact on your work that film-style shooting will. Software will also always take longer than shooting right the first time. Longtime film shooter Kim Segel shows you the tools and techniques to maximize film looks, even on paupers budgets.
Tutorial, Feature
Kim Segel |
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Cinematography | The Redrock Micro DSLR Cinema Bundle for the Canon 5D MKII
If you are using the Canon 5D MKII or Nikon D90 for their gorgeous HD video, or even thinking about it, you need to read this. Creative COW Contributing Editor Jim Harvey shows how the Redrock Micro DSLR Bundle makes these cameras even more useful for video shooters, then shows how he and other pros are using it, in the field and in the studio. Jim is enthusiastic about the possiblities it opens up, and thinks you will be too.
Review
Jim Harvey |
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Cinematography | Focus on Controlling Depth of Field with Depth of Field Converters
Cinematographer and Creative Cow leader Todd Terry has shot countless television commercials and industrials using both 35mm film and depth-of-field converted video. In this Creative Cow Magazine Extra, from The Visual Effects Issue, learn how depth of field converters allow you to attach 35mm lenses even to video cameras with fixed lenses, how they work, and which one might be right for you.
Feature
Todd Terry |
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Cinematography | Your Future is NOW
Creative COW's Gary Adcock has been traveling the world, working with both manufacturers and cinematographers that are building the future. Here is his report.
Feature, People / Interview
Gary Adcock |
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Cinematography | Takuo Miyagishima, Panavision Innovator
Takuo Miyagishima was both the spirit of Panavision and the creator of innumerable camera, lens and accessory inventions that include Primo anamorphic lenses, Panaflex camera system and the Super Panatar projection lens. This tribute illuminates some of the accomplishments of this imaging innovator, and the influence he has had on over 50 years of filmmaking.
Feature
Debra Kaufman |
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Cinematography | Behind the Lens: Air Racers 3D: Flying to an IMAX Near You
From the first air race in 1909 to the present day, spectators have been thrilled by the tremendous aerial acrobatics and speed performances that adept pilots and their beloved aircraft are able to achieve. "Air Racers 3D," produced by 3D Entertainment in association with L.A.-based Pretend Entertainment and Stereoscope, is an in-depth exploration of the fastest motor sport on Earth at the annual Reno National Championship Air Races & Air Show, and commemorates this century-old sport in IMAX 3D. The COW had the opportunity to get into the cockpit with the makers of Air Racers 3D.
Feature
Debra Kaufman |
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Cinematography | Breaking the Hug Quota: DreamWorks, Dragons, HP, and the next creative revolution
Jeffrey Katzenberg, the CEO of DreamWorks Animation, introduced "How to Train Your Dragon" at the DreamWorks campus in Glendale, CA, near Los Angeles. We were there as the guests of HP, the culmination of three days of seeing the latest wonders from HP's Workstation division, read on for highlights of the event.
Editorial, Feature
Tim Wilson |
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Cinematography | Charting Your Camera
One of the industry's most respected specialists offers some tips on how to use camera calibration charts and vectorscopes to make your camera images the best they can be.
Feature
Gary Adcock |
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Cinematography | VFX Soup: Pirates of the Caribbean: On Stranger Tides
If you've been captivated by the dashing Jack Sparrow ripping through the streets of 18th Century London on a flaming coal cart, you have Cinesite London to thank for that rollicking and truly convincing ride, as they nail a 200-shot blue-screen carriage chase. Debra Kaufman goes "Behind the Lens" and interviews Cinesite Visual Effects Supervisor Simon Stanley-Clamp for the details about how Cinesite rose to the challenge.
Feature, People / Interview
Debra Kaufman |
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Cinematography | Douglas Trumbull Sees a Better Filmgoing Future
Douglas Trumbull first won acclaim with the visual effects for such groundbreaking features as "2001: A Space Odyssey," "Close Encounters of the Third Kind," and his own "Silent Running," but with the invention of Showscan in the late 1970s, he became the godfather of high-frame rate cinema. This pioneering innovator sees a better filmgoing future.
Feature, People / Interview
Douglas Trumbull |
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Cinematography | NAB 2012: Schneider Optics
Lens and filter designer/manufacturer Schneider Optics introduced a range of new products at NAB 2012, including the 77m True-Match Vari-ND thread-In filter; iPro Lens System for iPhone 4/4S; S2000 Century/Canon 17mm T4 Tilt-Focus Lens in PL Mount; and the Schneider Kreuznach Cine-Xenar III prime lenses.
Feature
Debra Kaufman |
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Cinematography | Camera Tricks, Part One
If you are an avid moviegoer, you've probably noticed that the psychology of the movie is not only in the script and the music, but the quality of the picture as well. In simplest terms, a picture slightly reddish and/or yellowish tends to give the viewer a warm, friendly, emotional feeling and a picture with a slight bluish cast tends to give the viewer a cold, heartless, emotionless feeling. In many drama type films, the use of warm footage with cold footage helps the viewer distinguish between the hero and the villain. In this article, Jim Allen explains color temperature and how to achieve this quality in your video.
Tutorial
Jim Allen |
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Cinematography | Editing the Farrelly's The Three Stooges
In Atlanta to work with the Farrelly Brothers, the creative minds behind 'Kingpin' and 'Something About Mary,' Sam Seig, the editor for 'The Three Stooges' reflects on comedy, timing, and editing as a team sport.
Feature, People / Interview
Sam Seig |
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Cinematography | Camera and Lens Round-Up
Gary Adcock explores and reviews many of the high-end cameras, lenses, monitors, and camera support gear introduced at NAB 2010 in this acquisition and display report.
Review, Feature, People / Interview
Gary Adcock |
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Cinematography | DSLRs: A Time Exposure
Robert Primes, ASC is watching the progress of DSLR video, and sees some remarkable visions of the future of cinematography. Read on for his detailed review...
Review, Feature, People / Interview
Robert Primes, ASC |
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