button-digitaledition-new

SubscriptionBanner 5

Utah Governor Signs Tax Credit Legislation for Film Industry

hb-99-signing-1_1
Utah’s Legislature approved a nationally competitive increase in the tax incentive for film makers that will boost the motion picture tax incentive from 20 to up to 25 percent of the dollars left in the state in the form of a fully refundable post performance tax credit or cash rebate. Governor Gary R. Herbert signed House Bill 99, Motion Picture Incentives Amendments, into law. The Legislature approved an ongoing tax credit fund of $6.8 million for the Motion Picture Incentive Fund (MPIF).

“Our vision for the State of Utah is to be recognized as a premiere global business destination,” said Governor Herbert. “The expanded motion picture incentive will enable us to position Utah and its talented motion picture and digital media work force to compete on a global basis for the film and digital media industries. These are important industries to our economy’s future.”

Read more...

LOOK Effects Takes on "Limitless"

Visual Effects can transport, captivate and visually illuminate a story while taking the audience places they dare to dream about.  LOOK Effects’ New York, a visual effects production facility recently worked on the visual effects for Neil Burger’s latest thriller, Limitless, staring Bradley Cooper and Robert De Niro.

Read more...

Color Correcting

colorcorr_copperpost_sfw
The digital intermediate (DI) is often a high-ticket item in the postproduction budget, but more and more independent filmmakers are still able to finish their films with a flourish. Even better, top-end tools from such well-respected manufacturers as Blackmagic Design and FilmLight are part of the equation.

Read more...

TV Show with an Indie Look

lighting_rotator_sfw
The popular TNT series “Men of a Certain Age,” starring Ray Romano, Andre Braugher and Scott Bakula, doesn’t have the usual TV-show look. Instead of static camerawork and flat lighting, the show has an edgy, indie film look, thanks to Cinematographer Mark Davison and Director/Cinematographer David Boyd, ASC. “David was the original DP, and when he moved on to direct the show in the middle of the first season, I took over as DP,” reports Davison, whose previous TV credits include “Boston Legal” and “Entourage.”

 

Read more...

From the Sidelines to the Live 3D Game

liveevent_3d-sfw
While Avatar’s success has triggered a lemming migration into the third dimension by directors of dramatic fare, the ripples are also lapping against the bleachers of spectator sports and other live events. But while a movie can always be fixed in post, a live event is a beast of a different stripe that has, at best, a 10-second time-delay buffer. Nevertheless, ESPN’s early commitment to 3D seems to have spurred many to get off the sidelines and into the live 3D game.

Read more...

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...
Page 24 of 34
Advertisement