Film critic Roger Ebert has called Julie Delpy “an original, a woman who refuses to be defined or limited.” At first glance, 2 Days in Paris—the 2007 film that Delpy wrote, directed and co-produced—might look like a typical culture-clash comedy, but it turns out to be something subtler and more complex.
Panavision President Bob Beitcher's plan is to further advance brand leadership in film camera and lens technology while integrating digital into the company's services from capture to release. Nearly 80 percent of all film directors and TV producers call upon one company to rent cameras, lenses, lighting, grip, and
Metallica: Some Kind of Monster was intended to be a typical promo piece: a behind-the-scenes look at the world's most popular heavy metal band and the recording of their first studio album of original songs in five years. Instead, the result was a feature-length documentary that follows the band through a collective
The digital intermediate (DI) process brings a new immediacy and innovation to the postproduction pipeline, revolutionizing the creative process.
If you're working in feature film postproduction, you need to know the tools, terms and technologies.
In the September issues of Videography and Digital Cinema
What did Sonny Liston, Carol Lynley, Nelson Riddle, Ginger Rogers, Barry Sullivan and Efrem Zimbalist Jr. have in common? Why were they probably embarrassed by it? What does it say about electronic cinematography? And, for that matter, what is electronic cinematography?
The simple answer to the last question is that
"What EFILM does is acquire images, make them look better, and then deliver them in one format or another," states Bob Eicholz, VP of Corporate Development at the Hollywood-based facility. "That's our business."
The simplicity of Eicholz's statement belies the leading-edge technology and highly sophisticated
In a business born of technology, change is continuous. From the very first nickelodeons of a century ago, to the advent of sound in the late 1920's, to today's digital cinema transition, the motion picture industry has a long history of adapting new technologies and devising solutions for its unique technical needs.
On a recent visit to a post-production company in New Zealand, my first-ever south of the equator, I was struck by the sight of several computer monitors that had noticeable green "splotches" on the upper part of their displays. My hosts explained that these monitors had been purchased from countries above the
The Tribeca Film Festival Digital Report, with coverage of the 2004 Tribeca Film Festival, is a publication of United Entertainment Media. The Report is filled with articles on the impact of digital technology on today's independent film market and coverage of the hottest films at the festivals.
Creative Planet
Michael Ballhaus ASC explains why open minds are essential for directors of photography and camera manufacturers alike as filmmaking transitions to digital.
Whether it's an intimate character study such as director R.W. Fassbinder's The Marriage of Maria Braun or a big-screen spectacle like Barry Sonnenfeld's Wild
