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Behind the Locations of The Hangover Part III

hangover_sm_groupThe Warner Bros. sequel The Hangover Part III marks the last film in a trilogy that broke ground with its unique mix of adventure and comedy. Directed by Todd Phillips, the first two Hangover films are now seen as one of the most successful movie franchises of all time. The third film centers on the four leads, Phil (Bradley Cooper), Alan (Zach Galifianakis), Stu (Ed Helms) and Doug (Justin Bartha), who find themselves on yet another outrageous adventure as they try to untangle their way out of some unthinkable circumstances. P3 recently chatted with the film’s Location Manager Gregory Alpert (pictured below), who both took the ride of his life while creating a distinct look for one of the most anticipated comedies of 2013.

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Illinois Gets Back on Top

 
chicago_skyline_illinois_usa_photo_wikiWhile Illinois has always been a hot spot for commercial production, the state’s feature film and television market has had its ups and downs. Now, thanks to an aggressive production incentive and a new high-end studio facility, Illinois and its most populous city Chicago are enjoying the enormous economic benefits brought by film and television projects.
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Louisiana Stays Active in Production

 
 
 
 
beasts-of-the-southern-wild_sm-As one of the first states to offer tax incentives to attract film and television projects, Louisiana has grown into a major production center. Known as “Hollywood South,” the Bayou State is third most popular filming destination in the U.S. after California and New York after growing quickly over the past decade. Boasting one of the finest infrastructures to support film and video production, Louisiana took center stage when The Curious Case of Benjamin Button won three Oscars out of its thirteen nominations in 2009. This year, the Academy of Motion Picture Arts and Sciences nominated two Louisiana films for Best Picture: Beasts of the Southern Wild and Django Unchained.
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Capturing Live Events

super_bowl_2013_p3 The live broadcast of a major sports event can provide plenty of technical and creative challenges. And when the event is as high profile as the Super Bowl, which combines a football game, a half-time show worthy of Broadway, and an audience of hundreds of millions, the stakes are even higher. To prepare for the Super Bowl’s expansive broadcast schedule and telecast from New Orleans, several networks turned to broadcast equipment rental company Bexel to handle their on-site production needs and fiber infrastructure.
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Getting Your Movie Greenlit

p3 update _350It’s time to get your movie greenlit. You have a polished screenplay and you’ve just sat down with the gatekeepers: studio execs. The opening of their big gate can lead to big audiences and bigger rewards. You want them to go forward with the movie — your movie — and all eyes are on you. You’re tense and fear the one wrong remark that will sabotage the meeting. This is crunch time.

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Extreme Filming in the Himalayas

 

 
pad-yatra-6_smDedicated filmmakers will stop at nothing to tell their story, especially if it brings attention to topics that are of significant importance. Such is the case for Los Angeles-based Writer/Director/Producer Wendy J.N. Lee, who shines a spotlight on the environmental issues that have plagued the Himalayas. Lee has an MFA in Film Production from USC School of Cinematic Arts, and she has volunteered to assist non-profit organizations in the Himalayas, where she became aware of the rise in plastic waste. With no viable recycling or trash disposal system in the area, there was a sudden peak in polluted and poisoned water sources along the glacial melting routes, which provides fresh water for half of the world’s population.
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Reality TV: Technology Drives the Popular Genre

When it comes to reality TV production, what we don’t know won’t hurt us. So say the networks behind the myriad of reality television shows populating our airwaves for the last decade. But P3 has recently taken a look behind the scenes of reality TV, and what we found is pretty interesting. Directors and cinematographers at Bravo TV now reveal the technology, gear, crew power and techniques they need to bring today’s top reality shows to life.

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The ATTO ExpressSAS R680 RAID Adapter

To effectively edit high-end HD projects you’ll need a RAID, which is just a bunch of hard drives working together to deal with the huge amounts of video data that are being manipulated. And if you’re editing DV at 25Mbits/sec, you’ll have no worries as 25Mb divided by 8 bits per byte equals only a bit over 3MB/sec, which any hard drive can handle. But there’s a problem when you work with larger formats, like the one recorded on Blackmagic Design’s HyperDeck Shuttle. The full, uncompressed 10-bit recording rate of 1264Mb/sec or 158MB/sec is more than any regular hard drive is going to be able to handle. An SSD can deal with the speeds, but who can afford to own terabytes of SSDs? What you are left with is SATA and SAS drive RAID arrays to process all of your data.

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Color Correcting with Technicolor’s Dave Cole

Technicolor Senior Digital Colorist Dave Cole is known for his expertise on a long list of major film releases, including Warrior, Act of Valor, TRON: Legacy, The Ides of March and the Alvin and the Chipmunks trilogy. P3 recently spoke with Cole about the impact of digital cameras, the importance of having a colorist involved early in the production process, and how working effectively requires the support of a good team.

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Tiffen Releases New Editing APPS

The Tiffen Company is taking its 70 years of experience manufacturing photographic filters, lens accessories, software, and camera accessories for the consumer/professional imaging and the motion picture and broadcast television industries and bringing it into the new age by creating editing apps. Tiffen Photo fx and Tiffen Photo fx Ultra enhance social media support for Facebook, Flickr, Instagram, Twitter, Tumblr, the Sincerely Ship & Print service as well as Email, Print, Copy, and Open In.

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