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....
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...
Products: Atto By Dan Ochiva
It had to happen; 2Gbps Fibre Channel ports just aren't fast enough anymore. To keep up with high-volume streaming, and 2K and 4K post storage-maker Medéa tapped Atto's Celerity FC-42XS 4Gb dual-channel Fibre Channel host adapter......
Data Driven, Part II By Michael Goldman
The postproduction industry continues to expand existing digital intermediate pipelines toward larger, seamless data pipelines for image acquisition, viewing, manipulation, transfer, editing, and finishing. In the process, new workflows — and differing opinions about them — are cropping up. As discussed in last month's issue, some major facilities (Efilm, Technicolor Digital Intermediates, and Laser Pacific) have recently instituted competitive new digital dailies services......
By S. D. Katz
Adobe begins 2006 with the biggest makeover ever in its history. With the release of its highly integrated Production Studio Premium bundle this month, the San Jose, Calif.-based...
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...
Step by Step: Aeon Flux By Ellen Wolff
Stylized settings abound in Aeon Flux, Paramount Pictures' sci-fi confection with MTV roots and Charlize Theron to boot. Designing the look of the film's futuristic environments required substantial give and take between The Orphanage in San Francisco and Digital Domain in Los Angeles. In one particularly revealing shot, The Orphanage's CG team pulls the camera back from a single apartment window to a POV high above the city where the story unfolds. The lengthy pullback shot ultimately resolves......
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...
By John Monos
In the late 80s, the RenderMan standard was born, describing a series of rules and specifications for creating a 3D scene. Through the RenderMan Interface...
| BROWSE ISSUES | |||||||
 |
 |
 |
 |
 |
 |
||
| DCP June 2008 |
Millimeter May/Jun 2008 |
DCP May 2008 |
DCP April 2008 |
Millimeter Mar/Apr 2008 |
DCP March 2008 |
||
Multimedia
Newsletters
Blogs
Whitepapers
Events
DCP Directory
Mill Directory
Edit Calendar
Advertisers
Reader Survey