Shoot Review — Velbon Videomate 500 By Tom Patrick McAuliffe
One of the main things that differentiates a mediocre video from a professional one is the steadiness of the shots. The smoothness of the pans and the...
Scorsese's Color Homage By Michael Goldman
If you are ever lucky enough to find yourself in Martin Scorsese's private screening room discussing the history of color feature film processes, he will no doubt school you on such movies as Follow Thru, an obscure 1930 film about golf that illustrates the limitations of the early Technicolor two-strip, dye-transfer process by showing golf courses with blue grass. He might also show you clips from other two-strip films...
Capturing Vision By D. W. Leitner
Every once in a while, it's useful to stop and take a look at the gear that comes our way each year. Here's one take on some of the most interesting new gear to turn up over the past year....
Fade to Black:By Darroch Greer
It was inevitable that A Very Long Engagement, the masterful World War I novel by Sebastien Japrisot, would be made into a movie, and who better to direct, shoot, and star than Jean-Pierre Jeunet, Bruno Delbonnel, and Audrey Tautou, hot off their success with Amelie. When making a World War I epic, there are obvious visual touchstones...
Performance Captured By Michael Goldman
From a technical point of view, Robert Zemeckis'The Polar Express seems destined to do for motion capture what Zemeckis' Forrest Gump did for compositing — to permanently elevate the technique's capabilities and importance in the filmmaking equation. Similar to Gump's approach to compositing, Polar Express takes elements of a long-established technique and uses them in unique...
The HDV Bullet Train By D. W. Leitner
Sony's September announcement of the HDR-FX1, the world's first prosumer three-chip HDV camcorder, sent waves of excitement through the professional production...
By Michael Goldman
Prior to debuting its film-style, portable digital HD imaging camera called Genesis (built around Sony technology but available exclusively through Panavision)...
Building Collateral By Michael Goldman
Dave Canning recalls being extremely up front with director Michael Mann when the director first floated the notion of using the Grass Valley Viper FilmStream...
By Cynthia Wisehart
Before there was the Red One camera, Jim Jannard was already a video nut. Here's what was going on with Oakley video in June 2002:
At first you don't notice the python, and frankly he seems doomed. This is really no place for a snake, his terrarium shoved on a shelf...
By Trevor Boyer
At NY1 News, New York City's 24-hour Time Warner Cable news station, reporters shoot their own video. Despite its spartan use of resources, the station...
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