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TV & Movie Appreciation
Building The World of Hercules

Building The World of Hercules

Hercules achieved an epic look on a relatively modest budget through careful and clever CG environments. Together, Method Studios and Milk VFX are two of the companies that helped create a full, realistic world for Hercules, from the sky, to the Acropolis, to the sea.

Editorial, Feature, People / Interview
Tim Wilson
Art of the Edit
Saturday Night Live's Film Unit: Making TV Fast

Saturday Night Live's Film Unit: Making TV Fast

Saturday Night Live's film unit produces a pre-taped segment for every live show, with nearly all of production and post happening within a 48 hour period. Director of Photography Alex Buono and editor Adam Epstein rely heavily on communication, improvisational filmmaking skills and the flexibility of their toolset -- including Adobe Creative Cloud -- to hit their deadlines and bring film spots to air each Saturday night.

Editorial, Feature, People / Interview
Kylee Wall
TV & Movie Appreciation
Climbing Mountains to Make Lone Survivor

Climbing Mountains to Make Lone Survivor

"We are going to climb mountains" - that's what director Peter Berg told Petra Holtorf-Stratton before they began work on his movie, Lone Survivor. "And we did," she told us, "literally and figuratively." Petra tells us about making this powerful film based on the true story of a Navy SEAL's ordeal in Afghanistan, and also about her remarkable transition from VFX artist to movie producer.

Editorial, Feature, People / Interview
Petra Holtorf-Stratton
Cinematography
Technology 2014 | Production, Post & Beyond: Part TWO

Technology 2014 | Production, Post & Beyond: Part TWO

What were the big technology trends in media and entertainment over the past year? What's going to be significant in the coming year? Those are questions that many of us are asking, so we went to some of our savviest Creative COW contributors to ask their opinions of where we've been and where we're going. Here in Part 2, our conrtibutors offer in-depth insights. (See Part 1 for a broader industry overview.)

Editorial, Feature, People / Interview
Debra Kaufman
Cinematography
Technology 2014 | Production, Post & Beyond: Part ONE

Technology 2014 | Production, Post & Beyond: Part ONE

What were the big technology trends in media and entertainment over the past year? What's going to be significant in the coming year? Those are questions that many of us are asking, so we went to some of our savviest Creative COW contributors to ask their opinions of where we've been and where we're going. Here in Part 1, we offer an overview of their perspectives. (See Part 2 for their additional insights.)

Editorial, Feature, People / Interview
Debra Kaufman
TV & Movie Appreciation
Ender's Game: The Set-to-Screen Color Pipeline

Ender's Game: The Set-to-Screen Color Pipeline

With 1500 VFX plates, 900 final VFX shots and 350,000 R3D source VFX frames spread across more than a year's work and a hundred different people, Light Iron colorist and co-founder Ian Vertovec and CEO Michael Cioni needed to create an efficient data management and color pipeline for Ender's Game. In this case study, Light Iron takes you step by step through the collaboration and innovation that fueled this demanding project.

Feature
Light Iron
Cinematography
Behind the Lens: C.O.G. & Kyle Patrick Alvarez

Behind the Lens: C.O.G. & Kyle Patrick Alvarez

Based on an autobiographical comedy by acclaimed author and NPR contributor David Sedaris, "C.O.G." focuses on a summer of misadventures and growing up one young man named David [as in David Sedaris] encounters on an apple farm in Oregon. This look behind the lens of "C.O.G." with filmmaker Kyle Patrick Alvarez reveals a captivating story on both sides of the camera.

Editorial, Feature, People / Interview
Kyle Patrick Alvarez
Broadcasting
Will 2014 Be the Year of 4K?

Will 2014 Be the Year of 4K?

UltraHD, or 4K, has been making an appearance at trade shows for the last couple of years. At this year's IBC in Amsterdam, the demonstrations and products pushed forward the idea that 4K is a possibility for TV distribution and general production and post. Creative COW takes a look at the offerings and the opportunities.

Editorial, Feature, People / Interview
Debra Kaufman
Cinematography
The State of Cinematography: Insights From The Rental Houses

The State of Cinematography: Insights From The Rental Houses

Rental houses, which have existed since the 1920s, have all experienced the evolution from film to video to data. Today, the trends that rental houses experience -- from technology to business practices -- are a lens for understanding what's going on in the bigger ecosystem of the film/TV industry. In Part 1, we look at the challenges facing rental houses in today's production environment.

Editorial, Feature, People / Interview
Debra Kaufman
Cinematography
Behind the Lens: Tom Burstyn Shoots Defiance

Behind the Lens: Tom Burstyn Shoots Defiance

We go behind the lens with Director and Cinematographer Tom Burstyn CSC, FRSA, who is a multi-award winning, Emmy-nominated DP with over 30 years experience. Tom lensed Season One of SyFy's Defiance, currently airing on SyFy in the US and other international outlets and is in the midst of shooting Season Two. He took some time out of his busy schedule to talk with Creative COW about his experiences.

Editorial, Feature, People / Interview
Thomas Burstyn
AVID
CatDV Connects with Avid

CatDV Connects with Avid

Square Box Systems' has just unveiled a CatDV asset management system for integration with Avid nonlinear editors. Pegasus is a premium CatDV client that is based on the CatDV Enterprise product and, in addition to integration with Avid Media Composer, also offers metadata support for RED Epic. With this addition, CatDV now offers support for Avid Media Composer, Adobe Premiere and Apple Final Cut Pro.

Editorial, Feature
Debra Kaufman
Blackmagic Design
Arrested Development at Shapeshifter

Arrested Development at Shapeshifter

Shapeshifter in Los Angeles most recently color-corrected and added VFX to ten of the new 15 episodes of the cult TV show Arrested Development. The job came to the full-service post facility almost accidentally, when colorist Randy Coonfield advised the production on how to best round-trip between the company's Avids and its DaVinci Resolve from Blackmagic Design. Since all 15 episodes were released at once, Randy had his hands full, often color-correcting two episodes at a time to make the final push, turning out an entire season in a matter of days. Here, Randy Coonfield talks to Creative COW about what it took to get this new on-demand season out and streaming.

Editorial, Feature, People / Interview
Randy Coonfield
Cinematography
Behind the Lens: The Kings of Summer with Ross Riege

Behind the Lens: The Kings of Summer with Ross Riege

After Ross Riege completed shooting The Kings of Summer, he moved on to working on a feature-length documentary with director Greg Kohs. During that session, Ross took some time out of his busy schedule to talk with Creative COW about his career path as a young cinematographer and his experiences shooting his first feature film, The Kings of Summer.

Editorial, Feature, People / Interview
Ross Riege
NAB Expo
NAB 2013: On the Post Production Trail - Day Four

NAB 2013: On the Post Production Trail - Day Four

Visits to G-Technology, RED, Shortcuts HD, CalDigit and spending the last part of day four of NAB 2013 at the HP booth with a detailed look at the HP Z820 made for a fantastic day.

Editorial, Feature
Dennis Kutchera
Cinematography
The Making of 1000 to 1: Lenses & Lighting For The RED Epic

The Making of 1000 to 1: Lenses & Lighting For The RED Epic

Working with Angenieux on new lens solutions for the RED Epic, wrestling freakish gym fluorescent lighting, wrangling national park filming permits: these were just a few of the challenges facing cinematographer and co-producer (and Digital Cinema Society founder) James Mathers in the making of "1000 to 1," an inspirational indie drama to be released later this year. James tells a remarkable tale of the lengths one production went to make their film look much bigger than its budget, with practical advice for filmmakers on every scale.

Editorial, People / Interview
James Mathers
RED Camera
House of Cards

House of Cards

Netflix is distributing all 13 episodes of its first season House of Cards at once, on streaming platforms. That's not all that makes this new political drama series unique. With David Fincher as an executive producer and director of the first two episodes, you'd expect a digitally-savvy pipeline and you'd be correct. In this story, Fincher's post production supervisor Peter Mavromates and assistant editor Tyler Nelson talk about how FotoKem's newly evolved nextLAB system played a role in streamlining the post pipeline.

Editorial, Feature, People / Interview
Debra Kaufman
Cinematography
The Camera Is An Eye - Not A Vacuum Or A Gun

The Camera Is An Eye - Not A Vacuum Or A Gun

This article is intended to be a friendly guidepost for all shooters who wish to improve their craft. At the highest level, you, the shooter, are involved in one of the greatest art forms the world has ever known. At the lowest level, you, the shooter, are still involved in one of the greatest art forms the world has ever known. Find out how to channel your "Inner-Welles" and create the majestic poetry we all crave from your art.

Editorial, Feature
David Allison
Windows Hardware & Software
Larger Than 4K: Larger Than Life!

Larger Than 4K: Larger Than Life!

Keen Live's Walter Soyka regularly works with files twice the size of EPIC's 4.5K - and how about a 120-foot video wall at 14,700 x 1200 - that's why he needs all the power he can get from his workstation.

Editorial, Feature, People / Interview
Walter Soyka
What Computer Should I Buy?
Solving the Mystery of Getting Ahead

Solving the Mystery of Getting Ahead

With a BAFTA for audio in hand, Bang Post Production has a new game afoot for picture post in Wales.

Editorial, Feature, People / Interview
Glenn Collict
What Computer Should I Buy?
Jump!

Jump!

NitroCircus: The Movie's stylistic leap in 3D production used RED EPICs shooting 96 fps, for up to 4TB of files a day. They relied on HP workstations to deliver the film on time and on budget.

Editorial, Feature, People / Interview
Russell Lasson
Cinematography
The Aesthetics of High Frame Rate Cinema

The Aesthetics of High Frame Rate Cinema

Any change in the way we watch movies creates a heated debate, from the introduction of sound and color to digital acquisition and stereoscopic 3D. Now, the subject of debate is High Frame Rate cinema and, naturally, the debate is emotional. From watching hundreds, maybe thousands, of movies, we all have an idea of what a movie ought to look like, and for some people, HFR doesn't fit into the picture. Other moviegoers are excited about HFR's potential -- but to fulfill it, filmmakers and technologists have a lot of work ahead of them.

Editorial
Debra Kaufman
Stereoscopic 3D
Debra Kaufman's Review of The Hobbit in 48 fps 3D

Debra Kaufman's Review of The Hobbit in 48 fps 3D

Debra Kaufman started her high school's Tolkien Club when she was a big fan of The Hobbit and Lord of the Rings. Though she hasn't celebrated Frodo's birthday in many years, she did get out to see The Hobbit in 48 fps. Here are her thoughts on The Hobbit in 48 fps and HFR Cinema in general.

Editorial
Debra Kaufman
Apple FCPX Techniques
SHOOT>EDIT with RED and FCP X

SHOOT>EDIT with RED and FCP X

Embracing FCP X and the RED Camera System from the earliest releases has been proven a successful choice for filmmaker David Battistella, whose enticing respect for the RED/FCPX workflow shines through from detailed explanation to his finished work. Everything we dreamed RED could be in post is beginning to unfold with the new FCP X update.

Editorial, Feature
David Battistella
Cinematography
Setting Standards for High Frame Rate Digital Cinema

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
Film History & Appreciation
The VFX Files: Nancy St. John of Prime Focus Vancouver

The VFX Files: Nancy St. John of Prime Focus Vancouver

A pioneer in digital visual effects, Nancy St. John most recently worked on Men in Black 3, as Prime Focus' Executive Producer. Her career has spanned the beginnings of digital visual effects at Digital Productions and Robert Abel & Associates in Hollywood to Vancouver or "Hollywood North." She shares her experiences with Creative COW.

People / Interview
Nancy St. John
Series


Authors

Gary Adcock (4)
David Allison (2)
Bernat Aragones (1)
David Battistella (6)
Thomas Burstyn (1)
Stephen Campbell (1)
Glenn Collict (1)
Light Iron (1)
Jeremy Garchow (1)
Angela Gyetvan (1)
Debra Kaufman (18)
Helmut Kobler (5)
Dennis Kutchera (1)
Russell Lasson (1)
Ronald Lindeboom (1)
Mathieu Marano (1)
James Mathers (1)
Craig Meadows (1)
Dylan Reeve (1)
Shane Ross (1)
Andrew Shanks (1)
Walter Soyka (1)
Dave Stump, ASC (1)
Von Thomas (1)
Kylee Wall (1)
Tim Wilson (2)
Aaron Zander (1)
Bob Zelin (1)


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