Keeping a hit television show that’s been on the air for 14 years fresh and interesting is a demanding challenge. As scripts get bigger to sustain audience interest, budgets inevitably get smaller. “When a show reaches syndication, it has primarily done it’s job of crossing the finish line of making money for a very long time,” says CSI: Las Vegas cinematographer Crescenzo Notarile, ASC. “So, why spend more when the networks, at this point, don’t have to. It’s a creative challenge to keep the audience coming back with what we have. It’s not making more – it’s making the freshest.”
As motion picture, television and commercial production continues to transition to ever-higher resolution digital video, Canon has introduced the DP-V3010 4K Reference Display.
Colorflow recently applied its color grading expertise to a newly restored version of Black Angel, a fantasy-themed short film with a Star Wars connection that was believed lost for more than 30 years.
Filmworkers provided post-production services with a distinctive Windy City accent for the latest spot from State Farm. Conceived by Chicago agency DDB, the spot features State Farm spokesman Aaron Rodgers, who finds himself wedged uncomfortably between a pair of Bears fans during an airline flight.
Autodesk announced the new capabilities of its Flame Premium 2014 software at the International Broadcasting Convention 2013.
I write as someone whose adult life has (for the most part) been immersed in holography. It has been a grand passion. Walking into the International Center for Photography in 1975 for the show Holography '75: The First Decade July 3–September 19, 1975, and seeing my first hologram was a mind-blowing experience.
Tom Feiler has directed three web commercials for the Toronto-based children’s store Kol Kid and Tribal Worldwide Toronto. The spots cleverly communicate how tech toys can’t always fulfill the joy of traditional toys. The ads are the centerpiece of a new, multi-faceted campaign for the store celebrating the value of simple play.
Despite the fact that most of the digital cinema theatres around the world are projecting in 2K-resolution and that the vast majority of TV broadcasters in the world have not yet adopted even digital HD, a growing number of production professionals strongly advocate that all filmmakers shoot in 4K. One such advocate is Jeff Blauvelt, owner and founder of HD Cinema, a boutique rental house that also provides post-production services to a growing number of independent filmmakers from its two locations in Los Angeles and Westport, Connecticut. In Blauvelt’s mind, shooting 4K digital cinema just makes good creative and business sense.
Women in Norway now have the same protections against unwanted sexual advances enjoyed by women in most other Western countries thanks to an award-winning public service advertising campaign conducted by Amnesty International.
The Kill Team, which won for Best Documentary Feature at the Tribeca Film Festival and earned the Golden Gate Award at the San Francisco Film Festival, tells the story of a group of U.S. soldiers stationed in southern Afghanistan who, motivated by fear and boredom, take to murdering Afghan civilians and then staging those killings to look like good shoots.