Guest Column

In Sound, Size Does Matter

Thu, 12/17/2015 - 12:32 -- Perry Robertson

The obvious difference between sound for the big screen, the small screen, and now, the tiny screen, may not seem that different. In many ways they are not. As sound designers and editors, we want the viewer to experience every gunshot and explosion as well as every word, whether listening in a theater, at home on a TV, or earbuds on the subway. Sound for the big screen on a movie like Trumbo means you can use 5, 7 or in the case of Dolby Atmos, unlimited channels, for panning. We also have a large dynamic range because of the room size and speaker size. This, in many ways, is the easiest for those of us creating the sound tracks.

What’s Wrong with the DCP?

Fri, 03/06/2015 - 12:29 -- Michael Karagosian

DCP stands for Digital Cinema Package. It’s the name for the collection of digital files that make up a digital movie distribution. Actually, there’s a proper name for the collection of files that make up a movie – called the Composition – but no one seems to like that name, and everyone likes the name DCP. There are two kinds of DCPs in the world, because engineers can never leave things alone. The Good DCP and the Bad DCP. When I say Bad DCP, I mean the one called Interop DCP. When I say Good DCP, I’m talking about the one called SMPTE DCP.

Viewing 4K and UHD in an HD World

Tue, 12/16/2014 - 11:53 -- Josef Marc

At the 2013 National Association of Broadcasters the founders of Archimedia were looking for what the media industry needed next. We were surprised to see a lot of poor video in the booths of the world's best manufacturers so we asked them why? We were told that it was because at a trade show, they needed players for all formats and all kinds of displays, and there wasn't one.

Remote Area Medical Filmmakers Respond to Closing of Free Clinic

Wed, 11/19/2014 - 15:06 -- Nick Dager

Editor’s Note: New York Gov. Andrew Cuomo’s office turned down an offer from the group Remote Area Medical to offer free health care to thousands of New Yorker’s the day after Thanksgiving. Filmmakers Jeff Reichert and Farihah Zaman have made a documentary about Remote Area Medical, which opens in New York on November 28. They published an open letter in response. Here is their letter:

Don’t Say Drones

Mon, 08/04/2014 - 11:36 -- James Mathers

[Editor’s Note: This article is excerpted from the Digital Cinema Society eNewsletter, July 2014, and is published with the author’s permission.]
The world is abuzz with talk of Unmanned Aerial Vehicles and in order to avoid conjuring up images of CIA missile strikes, or NSA spying, I’ll avoid using their more common name – drone. The technological and commercial promise of this mode of aviation seems boundless. Amazon talks of delivering packages this way someday soon. Someday you might order a pizza and a UAV will make a beeline navigating by GPS over traffic right to your door. But as things stand today, professional filmmakers in the United States are not allowed to use UAVs on a movie shoot.

Close Encounters of the Implosion Kind

Mon, 06/24/2013 - 11:08 -- Nick Dager

[Editors Note: As has been widely reported, in recent weeks filmmakers Steven Spielberg and Steven Soderbergh have predicted that Hollywood will implode if the major studios continue to invest only in tent-pole movies and endless sequels. In a guest column Russ Collins, artistic director of the Cinetopia Festival, CEO of Ann Arbor’s Michigan Theater and director of the Art House Convergence, takes exception.] Steven Spielberg is a gifted filmmaker whose impact on the art and business of cinema is arguably peerless. Steven Soderbergh is a gifted and important filmmaker. The aesthetic and financial success of both Stevens is unquestioned. However, both of these cinema icons have come out with almost bitter assessments of the future of movies recently. I believe these assessments are wrongheaded. Maybe it’s because the pessimistic assessments come from these two cinema idols that it makes me sad and a little mad.

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