By Michael Goldman
Oscar-winning director Robert Benton was devastated at the death of cinematographer Jean-Yves Escoffier earlier this year from heart failure shortly after the two had completed working together on Benton's new film for Miramax, The Human Stain....
by Michael Goldman
Kevin Costner wasn't exactly itching to do a digital intermediate on his new film — Touchstone Pictures' Open Range — when the project got underway last year. He didn't even know, or care, what exactly a digital intermediate was....
By Cynthia Wisehart, Editorial Director
I remember the first time I got a glimpse of what is now called Digital Intermediate. I was at the old Rainmaker offices in Burbank watching a carpenter...
by Michael Goldman
When director Gary Ross insists, “I'm not hung up on saying Seabiscuit is my vision — it was a total collaboration in every sense of the word,” his DP on the film, John Schwartzman, ASC, immediately contradicts him....
by Michael Goldman
Although Edward Norton stars in Spike Lee's new film, The 25
By Garrett Smith
The vice president of Digital Mastering Operations at Paramount Pictures and adjunct associate professor in the USC Cinema/TV department Garrett Smith on the past and future of film technology....
by Jon Silberg
Digital mastering for a feature film still comes at a premium. Facilities estimate that today it can add anywhere from $100,000 to $500,000 to a post...
by Dan Ochiva
For decades, Italy's famed Cinecitt (Cinema City) studios have served as a second Hollywood, a favorite for directors ranging from Visconti, Renoir, Fellini,...
by Jon Silberg
In theory it's the best of both worlds. Digital mastering allows cinematographers the unmatched flexibility of shooting on film along with the creative control of the telecine suite....
by Ellen Wolff
Inventive techiques forge new worlds. Much to learn, we have....