By Michael Goldman
HBO's epic seven-hour miniseries, Angels in America, is not only unorthodox in terms of its content, but also in terms of how it was made. The show, directed by Mike Nichols and based on two award-winning Tony Kushner plays (Kushner also wrote the teleplay for HBO), is split into two, 3 1/2-hour parts, Millennium Approaches and Perestroika....
By Ellen Wolff
When Universal Pictures releases The Cat In The Hat this holiday season, Mike Myers will personify Dr. Seuss' famous feline. Myers will be sharing the screen with a talking computer-animated fish, and the challenge of making that fish come alive for director Bo Welch belonged to L.A.-based Rhythm & Hues....
By Michael Goldman
After a black-and-white, photochemical detour with The Man Who Wasn't There in 2001, cinematographer Roger Deakins steered the Coen brothers back into the digital intermediate suite at EFilm, Hollywood, for consecutive feature films — their recent Universal release Intolerable Cruelty and the upcoming The Ladykillers (a Buena Vista 2004 release)....
By Michael Goldman
Somewhere, perhaps inside a dusty, forgotten file cabinet at Paramount Studios, there might still lie a paper co-authored by Walter Murch and Francis Ford Coppola in the early 1970s proposing a method of editing The Godfather digitally, in nonlinear fashion....
By S. D. Katz
You know an idea has reached popular status when it's christened with an abbreviation. DFD, or digital film design, is computer-based previsualization. And it's finally beginning to reach a broader audience....
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 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
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 Ellen Wolff
For Spy Kids 3-D: Game Over, director Robert Rodriguez had some ambitious plans. To bring something new to his hit franchise for Dimension Films and Miramax, Rodriguez chose HD stereoscopy....
by Robin Rowe
For Star Wars: Episode II, Linux made Yoda a light saber-wielding action figure. In Lord of the Rings 2, waves of Orcs attacking the colossal fortress at Helm's Deep are not thousands of human extras, but digital actors created using Linux....
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