| | | |
DaVinci Resolve
Grading Frankenweenie at Company 3
Colorist Rob Pizzey just finished the DI for Tim Burton's latest film, Frankenweenie, a 3D stop-motion animated tale of a boy and his deceased dog, brought back to life with the power of science. Creative COW spoke with Company 3 colorist Rob Pizzey in London about the tricks of grading a B&W movie that's also stop-motion and in 3D.
Feature
Debra Kaufman |
| | | | |
| | | |
Stereoscopic 3D
3DTV: The Industry's Challenges, Your Opportunities.
As consumers, it is easy for us to see that 3DTV has not spread as quickly as originally hoped. There are still lots of opportunities for manufacturers and broadcasters to make big moves, and Al Caudullo, The 3DGuy discusses them. More important, Al has seen opportunities for independent content creators like himself to find new revenue streams, even in this trying economy -- and believes you can do it too.
Editorial
Al Caudullo |
| | | | |
| | | |
Cinematography
Canon Showcases C500 at Loyal Studios
At Loyal Studios in Burbank, Canon introduced its latest Cinema EOS camera - the C500 - to a group of cinematographers, directors, producers and other industry players. The C500, which introduces true 4K acquisition, was introduced by the company’s Senior Director of Professional Engineering and Solutions Larry Thorpe. Shown paired with a Codex S recorder, the Canon C500 can also record to devices from five other recorder manufacturers.
Editorial, Feature
Debra Kaufman |
| | | | |
| | | |
Cinematography
Setting Standards for High Frame Rate Digital Cinema
Dave Stump, ASC, is a co-chair of the SMPTE Working Group on High Frame Rate Cinema. The upcoming releases of The Hobbit and Avatar 2 have highlighted a number of issues that the entire filmmaking community is going to have deal with, including exhibitors. A winner of an Academy Award for Technical Achievement as well as a cinematographer, Dave speaks from a variety of perspectives as he describes the early days of progress towards standards for High Frame Rate cinema.
Editorial, Feature, People / Interview
Dave Stump, ASC |
| | | | |
| | | |
Cinematography
Taking 3D Shooting To The Limit -- with 3 Cameras!
HD pioneering cinematographer B. Sean Fairburn, SOC is now working on ways to make 3D cinematography possible for all kinds of difficult and dangerous activities, as well as first-person POVs. He speaks to Creative COW about his work to build rigs that are extremely mobile as well as offering different interocular distances for adapting 3D content to a variety of screen sizes.
Feature, People / Interview
Sean Fairburn, SOC |
| | | | |
| | | |
Cinematography
IBC 2012: Colorfront Express Dailies
Colorfront, the company that brought us On-Set Dailies, is now shipping Express Dailies, a laptop-based dailies system based on the same image-science technology. Express Dailies features a range of tools for file-based workflows, including playback and sync, QC, color grading audio and metadata management: for a new low price of $15,000.
Editorial, Feature
Debra Kaufman |
| | | | |
| | | |
Cinematography
Filming a Docu in 2012 London with the Sony PMW-100
Trevor Ward has just returned from London where he was brought on to film a documentary during the games of 2012. The tour involved seventeen interviews, all over London, sometimes in a Cinéma Vérité style. Read the review based on his real-world experience with the new (and very lightweight) Sony PMW-100 camera.
Editorial, Feature
Trevor Ward |
| | | | |
| | | |
Cinematography
The Truth About 2K, 4K and The Future of Pixels
John Galt, Panavision Senior Vice President of Advanced Digital Imaging, led the team that created the Genesis camera, was responsible for the F900 "Star Wars" camera, and continues to play a leading role in guiding future digital cinema technologies. In this wide-ranging, no-holds barred conversation, John cuts through what he calls the intentional obfuscation of "marketing pixels," and explores the range of high resolution and high frame rate options that are becoming available to filmmakers.
Feature
John Galt |
| | | | |
| | | |
Cinematography
Kallisti Media Produces 3D War of Wars
From Kallisti Media comes "War of Wars," a 3D documentary that combines historic stereographic stills taken during the war with modern day interviews with soldiers who recount their wartime experiences. Using stereographic stills to create motion imagery requires a toolbox of tricks, and Kallisti Media Editor Christian Glawe describes for Creative COW readers the post-production process - which relied heavily on Adobe software - to produce this compelling piece.
Feature
Debra Kaufman |
| | | | |
| | | |
Cinematography
Where Digital Meets Stop-Motion in ParaNorman
The stereo 3D stop-motion animated feature ParaNorman from Laika puts the emphasis on handcrafted puppets and details. But digital plays an important, behind-the-scenes role, not just in painting out rigs but in creating ghosts, dramatic, witch-filled skies, crowds and set extensions. Laika's visual effects supervisor Brian Van't Hul, compositing supervisor Steve Emerson and CG/look dev supervisor Andrew Nawrot talk about the creation and integration of the digital with the real in ParaNorman. (Potential minor spoilers in the article)
Editorial
Debra Kaufman |
| | | | |
| | | |
Cinematography
High Frame Rate Cinema
All eyes are on High Frame Rate cinema, the latest technology shift touted by such heavyweight filmmakers as Peter Jackson and Jim Cameron. But how many frames per second is ideal? How does HFR cinema change the workflow and the bottom line? This group of experts weighed in on why we should be excited by the opportunities of HFR cinema and what we can expect in day-to-day production and post workflows.
Editorial
Debra Kaufman |
| | | | |
| | | |
Cinematography
Behind the Lens: Paul Cameron ASC on Total Recall
Paul Cameron, ASC, just finished work on the remake of Total Recall, directed by Len Wiseman and starring Colin Farrell, Kate Beckinsale and Jessica Biel with Bill Nighy, Bryan Cranston, and John Cho. Cameron was last featured in Creative COW for his work on Henry's Crime. His previous credits include director Michael Mann's Collateral and Tony Scott's Man on Fire.
Feature
Paul Cameron, ASC |
| | | | |
| | | |
Art of the Edit
Editor Alan Edward Bell, A.C.E. on The Amazing Spider-Man
Fresh from cutting "Water for Elephants," Alan Edward Bell takes on the task of coordinating editing for "The Amazing Spider-Man." While focusing on building a unique telling of the story in a highly VFX-present setting, Alan follows the direction of Marc Webb to give movie-goers a more character-driven performance, updated interpretation of the love interest, and a subtle and comfortable 3D experience.
Feature
Alan Edward Bell |
| | | | |
| | | |
Cinematography
In-Camera Effects: Flip Steps
Many of us tend to jump right to computer generated imagery (CGI) when we think that it will be too expensive, or difficult to accomplish the desired effect practically. On some projects, however, creating an effect practically "in-camera" can be the better choice. On Matthew Zappile's recent production "Flip Steps," they decided to take the "practical effects" route and see if they could do it.
Feature
Matthew Zappile |
| | | | |
| | | |
Indie Film & Documentary
Behind the Lens: Navajo Teens Struggle Up Heartbreak Hill
Two young track stars at a rural New Mexico high school are torn between the lure of brighter futures and the ties that bind them to home. Home for these teens, however, is a small town on a Navajo reservation, and in leaving, they must separate from family, tradition, and the land that has been theirs for generations. Erica Scharf's Up Heartbreak Hill is a moving look at a new generation of Americans struggling to be both Native and modern. We take you Behind the Lens.
Feature
Erica Scharf |
| | | | |
| | | |
Cinematography
In Conversation with USC's Norman Hollyn
Creative COW's Debra Kaufman spends some time with Norman Hollyn, Full Professor at USC's School of Cinematic Arts as he prepares to embark on a two-year term as President of the University Film and Video Association and talks about the intersection of editing and film school.
Feature
Debra Kaufman |
| | | | |
| | | |
Film History & Appreciation
Method Studios: VFX for Abraham Lincoln: Vampire Hunter
Method Studios was approached by Fox's visual effects team to work on Abraham Lincoln: Vampire Hunter, and were offered some very tasty stuff to solve - a train sequence with burning bridges, full CG fire, all in stereo. As CG artists, this is the kind of meaty work you really want to go after. Randy Goux shared his experiences on Abraham Lincoln: Vampire Hunter with Creative COW.
Feature
Randy Goux |
| | | | |
| | | |
Film History & Appreciation
Depth of Field: Gregg Toland, Citizen Kane and Beyond
Whenever somebody equates "shallow depth of field" and "cinematic look," it's good to remember that the opposite is sometimes true. Gregg Toland, ASC was the first master of extreme depth of field, and movies like Citizen Kane and The Grapes of Wrath forever changed what it is possible for humans to do with cameras. Here's a look at what that means for YOUR shooting.
Editorial, Feature
Tim Wilson |
| | | | |
|
|
