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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....

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......

CG Actor Surfaces 

By Michael Goldman

John Gross feels he has come full circle through his work on NBC's Surface. As president of Eden FX, Hollywood, he spearheads the facility's digital effects...

Camcorder Wish List 

By D. W. Leitner

In October 1989, as a contributing editor to Millimeter magazine, I went on the record with a wish list of six camcorder wants: Cine-quality, high aperture "prime" lenses; especially wide-angle. Bellows-type matte boxes for flair control. Extendable viewfinders for tripod and dolly work......

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...

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...

Edit Review — Macromedia Studio 8 

By Frank McMahon

The merger with Adobe has not diminished the push for advanced software from Macromedia. The division has created one of its biggest updates yet in Studio 8, with a range of new features. The suite contains Flash Professional 8, Dreamweaver 8, and Fireworks 8, as well as Contribute 3 and FlashPaper 2. Macromedia Freehand is not around this time, but the company is reportedly still going to keep it on a development cycle. Much of the cool stuff is in the new Flash...

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...

Edit Review — Autodesk 3ds Max 8 

By Frank McMahon

Autodesk (formerly Discreet) brings out a much-welcomed new version of its flagship animation system for desktops, 3ds Max 8. While the news of Autodesk...

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...

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