Browsing: Cinema Tech

Hollywood is an old-fashioned town in some aspects. Once I saw an ad for a digital editing software enticing would-be users to edit like “Spielberg,” without realizing that Steven Spielberg never used a digital editor in his life. In “Catch Me If You Can,” most of the colorization is created by placing colored pieces of glass in front of the camera lens. However…There is, of course, “Sky Captain and The World of Tomorrow,” where all scenes are virtual and poor Gwyneth Paltrow must constantly pretend that a blue cylinder in front of her is really Dr Totenkopf’s evil assassin. As…

First a word from our sponsor, Time: In every sense, filmmaking is all about time. Not just the time it takes to conceptualize, write, pitch, fund, produce and release a film, let alone the time it’s taken me to get this article to CWB…no, I mean Time in its most abstract state of self. There is no single definition for time that isn’t fuzzy and indefinite. Even the word “indefinite” seems to pop up in many of these definitions. A bit circular, really…but if we accept that events happen in the universe with or without us–that things are constantly changing…

NVIDIA Corporation, the worldwide leader in programmable graphics processor technologies, today announced the release of NVIDIA Gelato 2.1 high-quality, GPU-accelerated rendering software, which now includes support for Joe Alter’s Shave and a Haircut software for computer-generated hair and fur effects. Other enhancements in this newest release of Gelato include support for Autodesk Maya 8.5 and 3ds Max 9.0, improved stereo rendering, fog lights, and significant performance improvements. “Gelato is extremely powerful rendering software capable of delivering amazing results,” said Joe Alter, CEO Joe Alter, Inc. “Now, with support for Shave and a Haircut, Maya users can easily add Gelato to…

Opening number one at the box office and still playing strong in theaters, Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan, the breakout comedy hit of 2006, was shot in classic documentary style with Panasonic’s AJ-HDC27 VariCam HD Cinema cameras. In the run-up to the Hollywood awards season, Borat has been named a Golden Globes’ nominee for Best Picture (Musical or Comedy) and the film’s star and creator Sacha Baron Cohen (HBO’s Ali G) is a Globes’ nominee for Best Actor. Baron Cohen was recently named Best Actor by the Los Angeles Film Critics Association. Distributed…

This year ARRI brings two major lighting tools to industry professionals: the ARRIMAX 18/12 and MaxMover automated stirrup. ARRIMAX is being deemed as a perfect choice for productions requiring maximum light output. It combines the variable beam spread of a Fresnel and the light output of a PAR. The ARRIMAX uses a unique reflector concept for beam control that eliminates the need for spread lenses. The optical system with its 580mm (22.8”) diameter specular, flatted reflector is adjustable and provides continuous focus from 15° to¬ 50°. Because the ARRIMAX does not require a set of spread lenses, the shadow quality…

Director, Robert Lynn Pushes Camera to New Limits in His Latest Handheld Style Feature. Director Robert Lynn shot his new movie, Havoc, with the GY-HD110U ProHD camera. Havoc is a horror/thriller about a team of paintball players who stop at an abandoned prison and encounter a paranoid schizophrenic war veteran who mistakes them for a team of assassins. “The technology in the GY-HD110U amazes me. I put it through some really rough extremes and it performed flawlessly,” said Lynn. “The HD images are truly unbelievable.” Shot at the old Tennessee State Prison, Lynn put the GY-HD110U to the test during…

We’ve all thought about it. Sitting in a dark theater watching the latest Hollywood blockbuster, how many times have we been completely caught up in the onscreen action, only to be brought back to reality by an ill-conceived scene or confusing turn of events. I mean, what was the director thinking? We would have known better than to put that clunker of a scene in the movie. After all, that’s what makes games so engaging – we have control over the action and the eventual outcome. But what if the people making movies could achieve that same level of interactivity…

Fifteen years ago a young theatre arts student rifting through a compilation of WWI flyboy vignettes recognized a voice, that of his father, a Vietnam veteran, coming through the words. Inspired by this resonance, Troy Gleeson wrote a one act play, Canvas Falcons, which he produced once, then began to develop into a classic two act story. It was at this point his theatre director encouraged him to have his actors ‘sing’ the lines and a deeper, more powerful dimension emerged. The production was very well received and over the next fifteen years Troy refined the scri pt and polished…

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