A select group of intrepid reporters have journeyed to the Sony factory in Atsugi, Japan for a glimpse behind the curtain at Sony's future tech and what we can expect to see at NAB. Although they have been prevented from taking photos, they are talking about what they've seen.
DV Magazine taps Band Pro's Randy Wedick for a look at tapeless workflow, on set and off set data management, and how to emulate the best practices of major directors like David Fincher (The Social Network) and Joseph Kosinski (TRON: Legacy).
Industry veterans Jeff Cree (Band Pro), Eva Paryzka (Thales Angenieux), Larry Thorpe (Canon) and Thom Calabro (Fujinon) weigh in on the ever-improving quality of cinema lenses, higher resolution digital cameras and the difference between light hitting film and light hitting a digital sensor.
Codex Digital recently teamed up with Colorfront, a DI and postproduction facility in Hungary, for what may be the first feature film shot using ARRIRAW, Styria. The Codex Onboard Recorder captured the unprocessed images directly from the camera and the Codex Digital Lab graded and created dailies as well as archival materal. See the official press release for more details.
Jon Fauer, ASC of Film & Digital Times has compiled all his reporting on the new Sony PMW-F3 digital camera into one comprehensive article. The downloadable PDF covers camera specs, Sony's lenses, the LA premiere of the camera at USC, as well as a glimpse into Sony's solid state future with the SR-R1 recorder.
Dante Spinotti, ASC was looking through a familiar camera when he shot The Chronicles of Narnia: The Voyage of the Dawn Trader. For this 2D/3D feature, he chose to use the Sony F23, the same camera he'd worked with on Michael Mann's Public Enemies. In order to make the most of the 3D space he wanted the clarity and depth of field that the Sony F23 could offer.
Denny Clairmont, former DP and long-time owner of Clairmont Camera, one of Hollywood's premiere rental houses, has been chosen as the recipient of the John A. Bonner Medal of Commendation by the Board of Governors of the Academy of Motion Picture Arts and Sciences.
Recorders and Workflow/Data Management Solutions from Codex Digital are popping up on productions around the country. And they've brought in post production veteran Sarah Priestnall to keep the momentum going.
Intrepid freelance reporter Carolyn Giardina's article for Createasphere breaks down the Episodic Television market by each production's camera of choice.
Director Danny Boyle and DP Anthony Dod Mantle forced Actor James Franco into such a tight space that they barely had room for the camera. Film & Video's Bryant Frazer continues his coverage of technology used on Danny Boyle's "127 Hours," by examining how the crew was able to make a film that primarily took place is a tight, narrow canyon in the desert.
October 19, 2010
Film & Video's Bryant Frazer delves into the digital workflow that made the filming of Danny Boyle's "127 Hours" possible. Remote locations in the desert, confined spaces for camera work. Boyle and his crew made it work with the help of Silicon Imaging's SI-2K camera and recording and data management from Cinedeck and 1 Beyond.
