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.
Paris-based animation studio Illumination Mac Guff used Shotgun software to keep on track for the 3D summer family film and one its most successful, Despicable Me 2.
Douglas Trumbull’s latest project UFOTOG, the world’s first high-frame rate (120 fps), stereoscopic 3D film, has completed production.
When an action movie script on a tight budget included such challenges as close-ups of mixed martial arts fighting, a high-speed car chase shot from a low-flying helicopter, and low-light location scenes, director of photography, David E. West, knew the solution was to capture it all using a Canon Cinema EOS C300 digital cinema camera, a Canon EOS 5D Mark II Digital SLR camera, and EF-Series lenses. Having used the EOS C300 camera on a previous assignment, West was enthusiastic about its portability and low-light advantages. He also owned an EOS 5D Mark II camera, and was a fan of Canon lenses both for photography and for shooting reality TV. West decided from the outset that the ambitious visuals needed for Blunt Force, a new film from director Daniel Zirilli, would make this an all-Canon project. Shot on location in Mississippi, the movie tells the story of an ex-soldier imprisoned and forced to be part of an Internet cage-fighting club.
Renowned artist Clifford Ross incorporated Maxon Cinema 4D software technology in the design process of The Austin Wall, a monumental and unprecedented stained glass work housed at the new United States Courthouse in Austin, Texas.
When shooting his recent independent feature Heads We Do, cinematographer Andrew Huebscher faced challenges including a tight budget, a 15-day shooting schedule, exterior night scenes, and the need for outstanding motion-picture image quality.
