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Seeking Vintage Color 

By Michael Goldman

When Martin Scorsese first decided it would be, in his words, interesting to explore ways to bake the visual color sense of the old Technicolor two-strip...

Shoot Review — Canon XL2 

By Barry Braverman

The Canon XL2 is the long-awaited successor to the legendary XL1 and XL1S, the two cameras that brought functionality and respect to DV cinematography...

Soundtrack Editing 

By Frank McMahon

The number of video producers creating their own soundtracks continues to grow for several very simple reasons. First of all, it's now fairly easy to...

Step by Step: Hero 

By Ellen Wolff

Few films can boast as many stunning visuals as the Chinese production Hero, an epic tale from writer-director Yimou Zhang (Raise the Red Lantern). One...

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By David Singer, Mr. X

At Toronto-based Mr. X, we specialize in feature film visual effects and animation for international and local producers. We have more than 30 feature...

Tool Time at Pixar 

By Ellen Wolff

If you were in the Pixar screening room where director Brad Bird regularly reviewed images for The Incredibles, you would have seen a cool, new tool in...

Color of Nitris 

By Michael Goldman

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On-Demand Computing 

By Dan Ochiva

If you're running an animation or effects facility today, the success of animated images is both a boon and a challenge. Year after year, audiences for...

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...

Share and Share Alike 

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Most production pipelines are a mixed environment of competing software, proprietary code, and legacy systems. We may expect companies to resist communicating...

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