Production & Post-Production

BTV Post Completes How Cities Work in 3D and 2D

Mon, 11/25/2013 - 14:12 -- Nick Dager

Filmed in 3D, How Cities Work visits London, New York, Barcelona, Las Vegas, Berlin, San Francisco and many other iconic cities following the amazing technological achievements, planning and engineering feats that make life in these great cities possible and pleasurable for the masses. BTV Post handled all the post-production for the TV series How Cities Work, which was commissioned by Discovery. BTV Post worked closely with Electric Sky Productions to ensure How Cities Work retained its 3D visuals and in-depth footage.

Rising to the Dark Challenge of Lighting a Horror Film

Fri, 11/22/2013 - 12:23 -- Nick Dager

Horror films have a certain style: cramped quarters, heat, now-you-see-it-now-you-don’t or did-you-really-see-it. Lighting for the suspense, and horror of the genre is always a particular challenge but one that cinematographer Steve Romano believes he handled nicely the indie feature The Girl, which was directed by Jennifer Blanc-Biehn.

Framestore Uses Vicon T40 Cameras for Pre-Vis on Gravity, Jupiter Ascending

Thu, 11/21/2013 - 12:07 -- Nick Dager

Framestore used 16 Vicon T40 cameras on the pre-visualisation for space scenes in Gravity. Framestore integrated the cameras with Blade – Vicon’s data capture and data processing system – to help create complex and extremely realistic visual effects. They will also use the cameras for pre-vis on the upcoming film Jupiter Ascending.

Size Matters on The Aviators Shoots

Thu, 11/21/2013 - 11:58 -- Nick Dager

When Devin Lund, director of photography for The Aviators on PBS, goes on assignment, he’s got to be ready for constant change. “Sometimes we’re dealing with the military. Sometimes we’re dealing with private aircraft owners. I’ve got to be ready to deal with last-minute changes. It always happens,” Lund explains.

Finding Creative Ways to keep a Franchise Fresh

Wed, 11/20/2013 - 12:15 -- Nick Dager

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.”

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