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The Colors of Munich  

By Michael Goldman

The color design strategically planned for Steven Spielberg's historical drama about the consequences of terrorism, Munich, was so important to the story that it can almost be considered...

Contrasting Colors 

By Michael Goldman

Color grading was crucial for both King Kong and Munich, but radically different approaches exemplify the "traditional versus digital" debate. Peter Jackson's King Kong and Steven Spielberg's Munich basically have just two things in common. First, they are two of the most high-profile and important films to come out in late 2005, and second, both relied extensively on carefully crafted color schemes designed to help achieve creative goals and impact audiences emotionally....

King Kong  

By Michael Goldman

Like the Lord of the Rings trilogy that preceded it through Weta Digital's production pipeline, King Kong is chock full of digital filmmaking innovations...

Data Driven 

By Michael Goldman

"Less than 50 percent of [major studio feature films] per year are finished with a digital intermediate," estimates Joe Matza, president of Efilm, Hollywood, Calif. “But by the end of next year, I suspect that number...

DI for a Geisha 

By Michael Goldman

Dion Beebe, ASC, recently emerged from the jungles of Uruguay, where he had been shooting Miami Vice for director Michael Mann, just in time to fly to Los Angeles from Miami for a one-day visit...

Dylan's Pipeline 

By Michael Goldman

Martin Scorsese's recent documentary No Direction Home: Bob Dylan, was "one of the more challenging multi-format jobs we have ever dealt with," says Ben...

Celco Fury 

By Ken Hayward
Rainmaker

Vancouver-based Rainmaker began modestly in 1979, offering Rank-Cintel film scanning, then state-of-the-art 1in. video editing, and service in all aspects...

Tight Ship 

By Michael Goldman

Joss Whedon Chuckles at the question, "How did the filmmakers behind Universal's Serenity produce a high-end, science-fiction epic for the big screen without access to Star Wars-type money?" "We did have Star Wars money — the money they had in the 1970's for the original Star Wars, that is," he laughs. "Actually, it's true — this is a low-budget film relatively speaking, but we had the advantage of using fresh...

A Blustery DI 

By Michael Goldman

Late last year, just prior to sailing off to shoot the next two Pirates of the Caribbean films, director Gore Verbinski finished up what he refers to as his so-called “little, low-budget” movie starring Nicholas Cage...

Converging Pipelines 

By Michael Goldman

Australian sister facilities Digital Pictures Iloura and Digital Pictures Melbourne recently combined a Lustre-based digital intermediate workflow with...

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