Rodriguez and 3D Post By Michael Goldman
Robert Rodriguez says that even as production of Shark Boy and Lava Girl in 3D entered the 11th hour, he decided to make a major change in the postproduction...
NAB 2005 By D. W. Leitner, Bob Turner, S. D. Katz, Michael Goldman, and Dan Ochiva
Who would have thought that pint-sized camcorders could cause such a stir? You didn't need Sherlock Holmes to find the crowds stuffing the booths that...
By Michael Goldman
When director Tom Zuber approached DP Lisa Wiegand to shoot a low-budget (less than $1 million) feature called Little Athens, they first discussed shooting...
Fade to Black: By Michael Goldman
Janusz Kaminski, finally a dad at 45, is managing just fine with his two-week-old (at press time) twins, Bruce and Helena, though he says, "All they want to do is eat and sleep right now." Speaking of which, Helena drains a bottle...
Cinematic Sluggers By Michael Goldman
"There have been some great fight films, and I wasn't sure I wanted to take that on," says Ron Howard of his hesitation to direct Cinderella Man. "I found it daunting to face the challenge of trying to present boxing in a more compelling fashion than has been done in the past." A conversation with actor Russell Crowe, who stars in the film as the Depression-era fighter, James J. Braddock, however, convinced Howard to take up the challenge. ...
Cinematic Aspirations By Bob Turner
In last month's issue, I said I believed that HDV (and other compressed HD technologies) will make 2005 the year of digital filmmaking. I would like to...
By Robert Nederhorst, Digital Domain
By Michael Cioni, PlasterCITY Digital Post
Iridas: Making Effects Work Quick and Easy to Check Back in 2000, you couldn't find an app to do any type of professional, uncompressed frame playback...
Making Sahara Glow By Michael Goldman
Paramount's Sahara, directed by Breck Eisner and starring Matthew McConaughey, is an old-fashioned adventure thriller in which heroic characters, lost and desperate under a brutal desert sun, manage to maintain ...
By Michael Goldman
For major facilities actively engaged in digital intermediate work on major feature films, NAB is less of a watershed for us than it used to be, in the...
By Michael Goldman
Few artists have personally experienced the intersection between the worlds of feature fi lm and commercial color correction in recent years more directly than Stefan Sonnenfeld, president, managing director, and colorist at Ascent Media's Company 3 in Santa Monica and New York. ...
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