button-digitaledition-new

SubscriptionBanner 2

 

Midwest Milestones

midwest_kansas_sfwopening
Heading out to the Midwest, you’ll find that many of Hollywood’s biggest blockbusters are taking the region by storm. The third Transformers film was shot in both Illinois and Indiana, and the city of Chicago has hosted the Dark Knight franchise. At the same time, Kansas and Missouri are churning out popular independent films like Winter’s Bone, which exposed audiences to the under-photographed Ozarks. And Kansas City, lying in both Kansas and Missouri, boasts some of the region’s most unexpected and interesting film festivals. This dynamic region offers large cities and vast plains along with experienced crew, eager film offices and large state-of-the-art facilities. So it’s no surprise that the Midwest is getting more and more well-deserved attention these days.

Read more...

Technicolor Launches ShareVue™ Dailies Solution

Technicolor launches its next-generation dailies solution that facilitates and greatly enhances the viewing of dailies content on desktop, laptop and mobile device including iPad and Android tablets.

Read more...

U.S. Incentive Update

Cast and Crew Entertainment Services, LLC reports on the changes in tax incentives that various states within the U.S. are proposing in an effort to attract more productions.

Read more...

Sensor Size Is Huge but Not Everything in Choosing the Best Camera for a Project

sfw_fieldcameras_turnkeyhd_2It was just a few years ago that any list of the year’s best and hottest cameras would be topped by 3CCD 2/3-inch sensor models. But that seems like another era altogether since today “bigger is definitely better,” with 35mm-sized sensors predominating. Ironically, these large sensors are conjoined with smaller, not larger, cameras. Blame it on HDSLRs, the digital still cameras that have taken the HD production world by storm, thanks to the rapid response of the camera support industry’s impressive array of viewfinders, support rigs, audio adapters and more for operating HDSLRs smoothly and with stability, much like video cameras.

Read more...

Editing in 3D

Df-04531_SFWAt Oasis Imagery in Hollywood, Calif., Chief Visionary Officer Scot Barbour has created the setup for the offline and finishing of the Russian 3D film Napoleon. The editor chose Avid Media Composer Nitris DX as his tool, and Barbour reports that he has set two workstations up connected to a Unity.

“There are a few choices to editing 3D,” Barbour explains. “You can cut the project with [Apple] Final Cut Pro (FCP) or Avid. One method is to use the codec CineForm, which is a great workflow when the editor wants to take it home. But you start in CineForm, you have to finish in the CineForm Neo3D codec.” Barbour likes to set up the system so that in the Avid or FCP system monitor the editor has three views: the left eye, the right eye and the combined image. “In the editing application, instead of one picture, you have three pictures to choose from,” he says.

Read more...

Shooting Polar Bears on Arctic Ice, in 3D, with a Thin 2D Crew

ShootingIn3D_IMG_0201SFWWhen planning to shoot a 3D documentary on polar bears in the Canadian Arctic, Filmmaker Adam Ravetch, an Arctic wildlife doc veteran, needed a rig that was capable of vertical and horizontal configurations. He used a prototype of Element Technica’s mid-sized Pulsar 3D rig coupled with Sony P1 HD cameras. “With the Pulsar we could configure the cameras side by side, or one atop the other in the beamsplitter mode,” reports Ravetch. “This enabled us to keep our weight to a minimum while having multiple 3D shooting options, depending upon how close we were to the subject that day.”

Read more...

Top Notch International Locations 2011

TopInt_Singapore_THE-FULLERTON-HOTEL_1-Fullerton-Square_SFWAs international competition intensifies to host the world’s highest-budget features, filmmakers are getting meticulous when it comes to researching the ideal place to shoot their cinematic epics. Furthermore, the ongoing financial challenges of our global economy exacerbate the underlying negotiations for the financial incentives that will best cater to filmmakers’ ambitions. With that in mind, P3 Update collects data on the most popular international filmmaking destinations for 2010.

Read more...

Academy Award® Nominated Films Shot with Angenieux Lenses.

Angenieux’s Optimo PL mount zoom lenses were used in the production of two of this year’s Academy Award nominated films. Production of the 35mm film “The Fighter,” nominated for seven Academy Awards, was shot with the Angenieux Optimo 28-76mm lens and the large format digital cinema production of “Winter’s Bone,” nominated for four Academy Awards, was shot with the Optimo 24-290mm lens and the 15-40mm lens.

“We are extremely proud to be associated with some of the industry’s most recognized films,” said Eva Paryzka, Sales Manager, Cinema Products, Thales Angenieux. “The selection of Angenieux lenses by the world’s top cinematographers is a testament to the quality and performance of our lenses.”

Read more...

Expert Advice for Scriptwriters

Writer_Michael_ArndtIn a recent panel discussion equipped with an incredible line up of writers including Michael Arndt (Little Miss Sunshine and Toy Story 3), Lena Dunham (Tiny Furniture), Nicole Holofcener (Walking and Talking, Lovely & Amazing and Friends With Money), Billy Ray (Breach, Shattered Glass and State of Play) and moderator Robin Swicord (Memoirs of A Geisha and Little Woman), hot topics were discussed on characters, feedback and ambition.

Read more...

North American 3-D Movie Box Office Revenue Nearly Doubles in 2010

Box office revenue generated by three dimensional (3-D) movies in North America nearly doubled in 2010, as more screens were upgraded to 3-D capability and studios delivered more 3-D motion pictures, new IHS Screen Digest research indicates.

North American 3-D movie theater revenue amounted to $2.2 billion in 2010, up 85 percent from $1.2 billion in 2009. The 3-D segment rose to account for 20.6 percent of total North American movie theater box office revenue in 2010, up from 11.0 percent in 2009.

The attached figure presents the IHS Screen Digest historical estimate of North American 3-D box office revenue.

Read more...
Page 18 of 27
Advertisement