Creative COW SIGN IN :: SPONSORS :: ADVERTISING :: ABOUT US :: CONTACT US :: FAQ
Creative COW's LinkedIn GroupCreative COW's Facebook PageCreative COW on TwitterCreative COW's Google+ PageCreative COW on YouTube
COW NEWSLETTER:Recent NewslettersSubscribe or Unsubscribe



40 hours of dailies get cut into 42 minutes of rapid edits, extreme angles, heightened drama, elevated emotions and, as needed, elegance.

In this article from Creative COW Magazine's new issue, Nancy Forner, one of the editors of The CW Network's hit series "The Vampire Diaries," takes readers inside the show's editing and style choices. The Vampire Diaries has a classic TV set-up of three editors and three assistant editors.

Before The Vampire Diaries, Nancy worked eight years on Law & Order: SVU. Neal Baer, who was the Executive Producer and show runner, decided to leave SVU and create his own show and "...asked if I would go along with him. I said I would. Many people asked why I would leave a hit for a new show, since most new shows do get canceled. The reason I left was because I like Neal Baer very much, and also, if you stay on any show too long, you get typecast. I loved SVU, but eight years is a long time. And creatively, I was ready for a new challenge."

If you want to learn all about the stylistic and editing choices behind the success of The Vampire Diaries, join us online in the Creative COW Library.
Subscribe or Unsubscribe



All of us at Creative COW Magazine were thrilled to watch Rob Legato take home the Oscar® for the Best Achievement in Visual Effects for HUGO during the Academy Awards® telecast on Sunday night.

Rob Legato and HUGO were the cover story of our January/February 2012 issue, so it was exciting to see Rob Legato receive his Oscar® statuette -- especially for such an endearing and important movie. We'll also let you in on a little secret: not only is Rob a talented artist and innovator but he is truly a nice person as well.

Thank you, Rob, for taking our readers inside the making of Hugo. It is a remarkable film.

If our members would like to congratulate Rob, please visit his article and leave your comments.

If you missed it first time around, you can also read Rob Legato's article on the Making of Hugo in the Creative COW Library.
Subscribe or Unsubscribe



Our worldwide services offered directory keeps growing, with thousands of entries from around the world and yet as close as your own local area -- especially for our members that use GPS devices.

Included at no charge in your Creative COW membership is our SERVICES OFFERED directory, in which you can promote your skills, talents and services offered -- whether you are a freelancer or you want to promote your company.

And now when you log-in to the Services Offered directory using GPS devices like smartphones and tablet devices, the directory has been upgraded to support GPS features for your empowerment and convenience.

If you haven't yet added your own Services Offered directory listing, visit services.creativecow.net, it only takes a minute or two of your time.

With hope and services for your success always,

Your Friends at Creative COW
Subscribe or Unsubscribe



Last Thursday, February 16, Apple gave the public its first look at Apple's newest desktop operating system, OS X Mountain Lion 10.8.

The big surprise that greeted many was not the news that this new OS would be very iPad-like, that much was expected. For many, the real surprise was that -- maybe in response to its highest-end audience's unstaged critical disconnect to Final Cut Pro X's introduction -- Apple issued a strong pre-emptive statement regarding its new OS. It said that while this new OS X version had many iPad-like qualities and conventions, the company was quick to affirm that there would be no one-size-fits-all iOS across all Apple devices. Desktops would go on. They would have their own OS. Apple rumor sites have been discussing new MacPro desktops. Time will tell what it all really means.

Some wonder just how far Apple will go to serve a higher-end user base needing more than an iMac. It sounds like we are soon about to see.

Until then, Apple's official introduction is now online at www.apple.com/macosx/mountain-lion/

And you can find some great discussions going on about Apple's new OS X Mountain Lion in our forums at cr8v.co/wMk

Subscribe or Unsubscribe



The world's top cinematographers gathered Sunday February 12th at the Hollywood & Highland Grand Ballroom as the American Society of Cinematographers met in a black tie gala to celebrate their 26th Annual American Society of Cinematographers (ASC) Outstanding Achievement Awards celebration.

Emmanuel Lubezki, ASC, AMC; Jonathan Freeman, ASC; Michael Weaver, ASC; and Martin Ruhe claimed top honors in the four competitive categories. Lubezki won the ASC Award feature film award for The Tree of Life. For the second straight year, Freeman earned top accolades in the one-hour television episodic category for HBO's Boardwalk Empire. Weaver was the inaugural recipient of the half-hour television episodic category for Showtime's Californication, and Ruhe won the TV movie/miniseries award for PBS' Page Eight.

Last year, Wally Pfister, ASC, BSC won the ASC feature film award for Inception, and went on to take home the Oscar as well.

To read all about the other honored award winners and special achievement recognitions, the celebrity presenters and the night's festivities, you can read the news at the ASC website at:

Read the full ASC Official News Announcement at the ASC website




And while you are there, subscribe to AMERICAN CINEMATOGRAPHER, the flagship of the American Society of Cinematographers. You can find all the details by visiting www.ascmag.com/store/home.php?cat=291 where subscriptions are as low as $14.95.







Here in the COW site you can also read Debra Kaufman's look at the life and career of

Dante Spinotti, ASC * Cinematography * Debra Kaufman
Dante Spinotti, this year's winner of the American Society of Cinematographers' Lifetime Achievement Award, which he received at the 26th American Society of Cinematographers (ASC) Outstanding Achievement Awards on February 12 in Hollywood.... more
Subscribe or Unsubscribe



Any great comedian will tell you that comedy is about timing. That is why editing plays such a crucial role in comedic features like "The Three Stooges." Finding the natural rhythm, letting the joke play, knowing how to pace the audience response, is more of a feeling that an editor needs to develop aside from the technical skills.

The creative minds behind "There's Something About Mary", "Kingpin," and many others were certainly comfortable with physical humor, but bringing the Stooges to the big screen has been a real challenge for Peter and Bobby Farrelly. With decades of world-wide familiarity with, and love for, the original trio (and subsequent replacement with Shemp Howard after Curly's death) presenting these physical farce and slapstick characters anew meant perfect casting, creative shooting, and editing on the edge.

Read Creative COW's look into editing as a "team sport," designing an elevated console to edit true "stand-up" comedy, and working on three Avid Nitris DX systems and a Unity as Sam Seig describes his time with the Farrelly's "The Three Stooges."

And don't miss, as part of our series on The Academy of Motion Picture Arts and Sciences® Scientific and Technical Awards, our feature on the ARRILASER Film Recorder.

On February 11, the Academy of Motion Picture Arts and Sciences® will honor the ARRILASER film recorder with an Academy Award of Merit® in the form of an Oscar® Statuette. The Academy, which awards individuals behind achievements that "demonstrate a proven record of contributing significant value to the process of making motion pictures," will present the Oscar to Franz Kraus, Johannes Steurer and Wolfgang Riedel. The design and development of the ARRILASER, noted the Academy, "demonstrates a high level of engineering resulting in a compact, user-friendly, low-maintenance device, while at the same time maintaining outstanding speed, exposure ratings and image quality."
Subscribe or Unsubscribe



In this expanded version of the article from the January/February 2012 issue of Creative COW Magazine, VFX Supervisor and 2nd Unit Director Rob Legato shares some of the secrets of a tribute to the love of making and watching movies, and insights into two filmmaking master storytellers, Georges Méliès and Martin Scorsese.

Rob tells readers: HUGO had perhaps a greater mission to fulfill than many VFX-themed movies because it was celebrating the life and work of the very first visual effects artist, Georges Méliès. He was also the first multi-talented auteur who wrote the movie, painted the sets, acted, and was his own editor and VFX supervisor. He did everything. When you study the work, you see what a genius and forward thinker he was, all the way back to his first films in 1896. There was no such thing as movie trickery before him.

The first meeting I had with with Hugo director Martin Scorsese, we talked about the scene where Hugo fixes a mechanical toy mouse that he presents to Méliès, having made it work better than originally designed. Marty said, "What if we did this stop motion?" My response was, "Well, it'll look like stop motion. We don't need to do it that way unless you want it to specifically look that way." Then he said, "That's exactly what I want it to look like."

All of us at Creative COW would like to thank Rob Legato for taking our readers inside the making of HUGO, and we'd also like to congratulate Rob on his Academy Award® nomination for his visual effects work on HUGO.

You can read the whole expanded edition with extra pictures, now online at:

magazine.creativecow.net/article/the-joy-of-filmmaking
Subscribe or Unsubscribe



In this article from our November/December 2011 issue of Creative COW Magazine, Stephen Menick shares the trials, tribulations and successes of planning and executing a project involving a DSLR shoot that also included two Panasonic AF100s. It is a project that serves as a reminder to both plan for everything, and be ready for anything.

Stephen Menick reports that, "People ask me to help them tell stories -- theirs and other people's, past and present. As a producer based in DC, I've done short documentaries, magazine segments and promos for PBS, commercials, PSAs, and shows for many other clients over the years. But one of the things I'd never done was produce a music video.

"I always told myself that if I ever did get to do one, I wouldn't show a band lip-syncing in a warehouse with cobwebs, and I wouldn't run out of shots. Too many music videos cycle through their shots in the first 40 seconds, and then it's just a recycle of more of the same. If I ever got my chance, I'd keep it interesting, with a live look and a live sound.

"One day I got tired of waiting and dreaming, and I called some friends.

"The project had labor of love written all over it -- a bunch of professionals coming together just for the creative juice of it all. For me, that meant planning, most of all because I didn't want to waste a second of my colleagues' time. But when you're working with a complete and utter lack of funds, sometimes you've just got to roll with the punches and stay determined.

"The story of how we pulled this thing together is a story of two dances. One, between planning and nowwhat- am-I-gonna do? The other, between keeping my vision in mind -- eyes on the prize -- and trusting my team."

You can read the complete story online at magazine.creativecow.net/article/plan-it-like-a-bank-heist
Subscribe or Unsubscribe



Douglas Trumbull is far more than a visual effects artist. Certainly, he played significant roles in three of the most powerful and influential visual effects movies of all time: 2001: A Space Odyssey (1968), along with Close Encounters of the Third Kind (1977) and Blade Runner (1982), Douglas also received an Academy Award® nomination for Star Trek: The Motion Picture (1979). But he started his career as an illustrator, and his love of art and sci-fi led to a career that includes countless inventions, 22 patents, simulator rides, as well as writing, producing and directing. His visionary developments include Showscan, a filmmaking and exhibition format -- 65mm negative filmed at 60 frames per second, with 70mm prints projected at 60 frames per second -- that presciently predated today's renewed attention to high-frame rates shooting.

In Part 1 of our interview with Douglas in the September/October issue of Creative COW Magazine, he described the development of his 1983 feature film project Brainstorm, which was intended to be for Showscan what Avatar became for 3D, until the project was stymied by studio politics and the death of its leading actress Natalie Wood. This precipitated Trumbull's move from Hollywood to the Berkshires in Massachusetts and the beginning of his career in simulation rides, first with Back to the Future: The Ride for Steven Spielberg. He went on to discuss the lamentable state of motion picture exhibition, and points the way to a future that not only includes higher framerates, but brighter screens.

Here in Part 2 of our interview, we rejoin Douglas in our November/December 2011 issue cover story, as he takes us more deeply into his career, and gives us his vision for the future of filmmaking.

Douglas was just in Hollywood to receive the 2011 SMPTE Presidential Proclamation, which recognizes "individuals of established and outstanding status and reputation in the motion-picture, television, and motion-imaging industries worldwide," for his more than 45 years of pioneering work in visual effects photography and groundbreaking innovation in motion-picture technologies.

He will be back in Hollywood in February to receive the Visual Effects Society's George Melies Award which honors individuals who have "pioneered a significant and lasting contribution to the art and/or science of the visual effects industry by a way of artistry, invention and groundbreaking work."

Also, shortly after our November/December issue appeared, we were happy to hear that the Academy of Motion Pictures Arts & Sciences will be giving Douglas Trumbull a special lifetime achievement Technical Oscar® this year.

However, his career is by no means relegated to the past. Douglas most recently served as the Special Photographic Effects Supervisor for Terence Malick's Tree of Life (2011), and has five movies under contract based on new technology he is developing.

Creative COW recently spoke to Douglas Trumbull about his past work, his current work, and the industry's future and you can read the interview here.
Subscribe or Unsubscribe



When one of the giants in the world of reality television switched to Final Cut Pro after years of using Avid, it was big news because they have hundreds of edit stations. It was a big red ding in Avid's sales numbers when Apple rode off with the account.

But things always change and sometimes they change back.

In this article, Bunim/Murray lays out the decision-making process that brought them back to Avid, following years of using Final Cut Pro. It was not an easy decision and was not one that the company made in haste.

Mark Raudonis, Senior Vice President of Post Production at Bunim/Murray told us in this exclusive report for Creative COW: "I was invited to Cupertino in February 2011, to see the first incarnation of Final Cut Pro X -- virtually the same presentation that they gave at NAB a few months later. My feeling in February was, 'This is interesting, but obviously it's not ready for primetime. I hope by the time they release it, some of these things will be addressed.

"Over the last 10 months, Apple has addressed some of those issues, and they are working on others, but in my opinion they've diverted from what we, as a company, need.

"We said that 'we're not doing anything until 2012' because a large organization like Bunim/Murray can't just turn on a dime. In fairness to Apple, we also wanted to give them a chance to address all of the criticism that came up. Since then, I've seen enough of their development to know that the direction they're headed in still isn't the right choice for us. As a result, after years of building our editing workflow around Final Cut Pro, we have decided to return to Avid Media Composer and Avid ISIS as the heart of our post process.

"This was not a decision that we took lightly. Change is inevitable. But, different is not necessarily better. Our editorial process requires some specific features that seem to be disappearing from Final Cut."


What are these specific features that Bunim/Murray sees disappearing? You can read it in Mark Raudonis's "Real World Editing: For Avid to FCP...and Back Again."

##
Subscribe or Unsubscribe
1   •   2   •   3   •   4   •   5   •   6   •   7   •   8   •   9   •   10   •   11   •   12   •   13   •   14   •   15   •   16   •   17   •   18   •   19   •   20   •   21   •   22   •   23   •   24   •   25   •   26   •   27   •   28   •   29   •   30   •   31   •   32   •   33   •   34


FORUMSTUTORIALSFEATURESVIDEOSPODCASTSEVENTSSERVICESNEWSLETTERNEWSBLOGS

Creative COW LinkedIn Group Creative COW Facebook Page Creative COW on Twitter
© 2014 CreativeCOW.net All rights are reserved. - Privacy Policy

[Top]