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Cinematography
Behind the Lens: The Kings of Summer with Ross Riege
Ross Riege just finished shooting his first feature film, The Kings of Summer. Currently working on a feature-length documentary with director Greg Kohs, 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 Kings of Summer.
Editorial, Feature, People / Interview
Ross Riege |
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Cinematography
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 |
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RED Camera
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 |
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Cinematography
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 |
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What Computer Should I Buy?
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 |
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Cinematography
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 |
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Apple FCPX Techniques
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 |
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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 |
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HD High-End
NAB 2012: OConnor
Fluid head pioneer OConnor, part of Vitec Videocom, a Vitec Group company, unveiled a 30L carbon fiber tripod, O-Focus Dual Mini follow focus unit, and Universal Camera Baseplate at NAB 2012. Attendees also had the chance to experience hands-on the Ultimate 1030D and Ultimate 1030Ds fluid heads.
Feature
Debra Kaufman |
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Digital Delivery
NAB 2012: JMR Electronics
JMR Electronics introduced a suite of new cloud-ready servers and workstations at NAB 2012. New products include SilverStor Desktop/Rackmount Workstation and Server, SilverStor 3 and 5 Slot PCIe Extenders, BlueStor 1U Cloud Server/Metadata Controller, BlueStor Modular Appliance, BlueStor Rapid, Encode Video Server, and BlueStor 3U Networked Storage Server. The company also its sponsorship of RED Digital Cinema's Camp RED this August in Hollywood.
Feature
Debra Kaufman |
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ARRI
A DIT Tells All
You've heard of on-set file-based workflow? That's Von Thomas. Here's an inside look at his gear, and management secrets that can work for you too.
Feature
Von Thomas |
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ARRI
Codex Digital Offers Full Support for ARRI Alexa Studio
Codex Digital now offers full support for ARRI's Alexa Studio with Codex ARRIRAW Plus and the Codex Onboard recorders, which can record up to 48 frames per second of ARRIRAW from the Alexa Studio in 4:3, using Codex' new high speed Data Packs. The company is also readying the debut of the Codex Vault at NAB 2012.
Feature
Debra Kaufman |
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Apple FCPX Techniques
RED AND FCPX
With the release of Final Cut Pro X, many were anticipating that there would be NATIVE FULL RED R3D integration in the new software. When that was not part of the release, especially after Apple talked about up to 4K resolution at the Supermeet, it left many people wondering how to integrate RED footage into FCPX projects. The purpose of this tutorial is to help you figure out how you might be able to incorporate footage captured with RED cameras into a project you are editing in FCPX.
Tutorial
David Battistella |
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NAB Expo
Codex Digital debuts on-set lab for RED, ARRI and Sony
Thousands of members of Creative COW were at the 2011 NAB Show, and we are pleased to bring you some of their reports. In this entry, Debra Kaufman found at NAB 2011, Codex Digital unveiled The Vault, a standalone solution with its own internal drives, providing a single, standardized workflow for productions employing multiple camera systems. IIF/ACES dailies workflow also demonstrated.
Feature
Debra Kaufman |
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NAB Expo
The Foundry offers new versions, more workflows
Thousands of members of Creative COW were at the 2011 NAB Show, and we are pleased to bring you some of their reports. In this entry, Debra Kaufman revels in the many exciting previews from The Foundry, including KATANA, and new releases of STORM, NUKE, NUKEX and MARI -- which proclaim bold advances for the 3D world.
Feature
Debra Kaufman |
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