September 1, 2010 - Production & Post Production
Feature StoriesDigital Intermediates
Following the Workflow of Zou Shan Ren
Hong Place Vision is the biggest rental company of Red Digital Cinema cameras in Beijing, and has built a post-production studio to meet the demand for the rapidly rising number of digital film and TV productions in China. Chief technician Yang Liu says one of their latest film projects, Zou Shan Ren, offers a good example of the digital workflow as well as their business model of offering cost-effective digital tools to filmmakers, TV producers, and broadcasters throughout China. One on One
Digital Cinema and Data Workflows in China
Well-known director and cinematographer Wu Chiao is at the forefront of digital cinema in China. He has been immersed in the filmmaking process since his first day as a student of cinematography at the Beijing Film Academy. He has been the director and/or cinematographer of numerous films, setting a standard of excellence within China. George Lucas’ Star Wars II, the first motion picture to be shot using an HD camera planted the seed with Wu Chiao that quality movies could be made outside the realm of traditional film methodology. Since then, he has amassed a good deal of experience and knowledge about the digital cinema process, including the quality and performance of digital cameras and data workflows, as well as their contribution to the art and craft of cinematography. In Production
Documenting Honor Killings
“It seems so-called honor killings and related attitudes and threats of violence have come to our part of the world,” says Deborah Parks, producer of Shelley Saywell’s award-winning documentary In the Name of the Family. “It’s frightening and these girls have nowhere to tell their stories. That’s why we made this film.” Coming Soon
Hurricane Katrina’s AftermathThe Spike Lee-directed documentary If God is Willing and Da Creek Don't Rise revisits New Orleans five years after Hurricane Katrina to look at how the city and its residents have changed. Complete story in our next edition |
News Stories
John Trapman Shoots Aerial Shots for Treasure Buddies
Aerial director of photography John Trapman chose the new Eclipse helicopter camera mount for Treasure Buddies, part of the Air Bud series, which takes the pack to the ruins of ancient Egypt. He shot the plates in San Diego, California.
Doremi Releases Universal 3D Format Converter
Doremi’s Dimension-3D Universal 3D format converter converts any 3D format to any other. It can fit into virtually all stereoscopic workflows allowing any 3D input stream format to be used with all types of currently available displays, including high-end projectors and the latest generation of 3D-ready LCD screens. It also includes frame-rate conversion.
Republic Pictures turns 75 Years Old
The Cultural Affairs Committee of the Studio City Neighborhood Council and the Museum of the San Fernando Valley will salute legendary movie studio Republic Pictures on its 75th anniversary September 25th at the former Republic lot in Studio City, California. Stars such as Adrian Booth, Anne Jeffreys, Ann Rutherford, and Peggy Stewart are slated to attend.
Reinventing Cinema now Available from Smashwords
Iridas Announces Stereoscopic Native Workflow for Arri Alexa Cameras
Iridas has announced what it says is the industry’s first stereoscopic native workflow optimized for the Arri Alexa.
OConnor Introduces 2065 Fluid Head for Digital Cameras
OConnor has introduced the 2065 Fluid Head, designed to handle popular digital cameras like the Red One, Sony F-35, and Arri Alexa. Shows / Conferences |
Reinventing Cinema: The First Decade of Digital Cinema by Nick Dager is now available at Smashwords. In May 1999 Star Wars: Episode 1 – The Phantom Menace opened with digital screenings in a handful of movie theatres in and around New York and Los Angeles: digital cinema’s first decade was underway. Those screenings generated widespread visibility and publicity and developments began to occur on a more regular basis. The Society of Motion Picture and Television Engineers began work on standards for digital cinema in 2001. The Digital Cinema Initiatives formed in March 2002 as a joint effort by Disney, Fox, MGM, Paramount, Sony, Universal and Warner Bros. The serious technical groundwork was being laid and the digital cinema era began.