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


Subscribe or Unsubscribe



The digital revolution was supposed to save us all from endless streams of paper but instead has spawned an even deeper addiction to the printed page. Here's how one filmmaker decided to take the road-less-cluttered and literally enter the ring of paperless production for Lionsgate and World Wrestling Entertainment.


Ender's Game: The Set-to-Screen Color Pipeline

Ender's Game: The Set-to-Screen Color Pipeline

Ender's Game: The Set-to-Screen Color Pipeline

With 1500 VFX plates, 900 final VFX shots and 350,000 R3D source VFX frames spread across more than a year's work and a hundred different people, Light Iron colorist and co-founder Ian Vertovec and CEO Michael Cioni needed to create an efficient data management and color pipeline for Ender's Game. In this case study, Light Iron takes you step by step through the collaboration and innovation that fueled this demanding project.


Stargate Studios: Delivering Content for TV's Top Shows with Adobe Creative Cloud

Stargate Studios Sets the Bar for Visual Effects

Stargate Studios Sets the Bar for Visual Effects for shows like The Walking Dead, House of Lies

Delivering content for some of television's top shows, including House of Lies, Grey's Anatomy, and, of course The Walking Dead, Stargate Studios continues to break the mold of how feature films, television series, electronic games, and commercials are generated. In this article, read how Adobe Creative Cloud and automation create a competitive edge for the iconic production studio, Stargate Studios.
Subscribe or Unsubscribe



Before coming to Creative COW, before his lives in product marketing and product management at Avid and Boris FX, Creative COW Editor-in-Chief Tim Wilson ran a video production company. In one especially memorable adventure, he found himself quite literally up to his armpits in alligators. He had no idea that this was going to happen when the day began. At the time, he was focused on a brand new fear: getting sliced in half by burning underwear.


Here are some other location production stories you may have missed!

Iraqi Filmmaking Workshop

Iraqi Filmmaking Workshop

Iraqi Filmmaking Workshop

In May 2013, award-winning cinematographer Bill Megalos traveled to Iraq to train young Iraqi filmmakers on behalf of a program organized by the Humpty Dumpty Institute. In this first trip, Bill blogs about guiding these filmmakers as they make short dramatic films this year. The focus in May was on their scripts, on story and character development, on working with actors, as well as giving them an overall background in production.


World War Z: Location Production for the Zombie Apocalypse

World War Z: Location Production for the Zombie Apocalypse

World War Z: Location Production for the Zombie Apocalypse

The team that developed virtual cinematography for Avatar went even further for World War Z, creating a much more advanced system for everything from video assist to capturing lens metadata, able to stand up to eight weeks of 14 hour days, in remote locations and extreme conditions around the world.


Jacob Rosenberg Directs Waiting for Lightning

Jacob Rosenberg Directs Waiting for Lightning

Jacob Rosenberg Directs Waiting for Lightning

Waiting for Lightning is the tragic and triumphant story of legendary skateboarder Danny Way, following him from his chaotic childhood to his early talent with a skateboard through to his many professional successes. With a combination of archival footage, interviews and skateboard action, Waiting for Lightning also takes us on Danny's journey to China to jump the Great Wall on a skateboard. Jacob Rosenberg takes us along for the ride.


A Tale of Two Field Monitors: Panasonic & Flanders Scientific

A Tale of Two Field Monitors: Panasonic & Flanders Scientific

A Tale of Two Field Monitors: Panasonic & Flanders Scientific

The world is full of production monitors these days, but two new models stand out thanks to their big screens that can run for hours on battery power. That alone means cameramen and producers can finally take a big monitor into the field, without giving up much mobility.
Subscribe or Unsubscribe



Creative COW recently had the great pleasure of speaking to visual effects pioneer John Dykstra, whose work first came to prominence on the original Star Wars. Dykstra received his first Academy Award for his work on Star Wars, and, the same year, won an Academy Scientific and Engineering Award for the Dykstraflex motion-control camera that made so many of Star Wars' effects possible.

His second Oscar was for Spider-Man 2. Along the way, he was nominated for his work on Star Trek: The Motion Picture, Stuart Little and Spider-Man. Dykstra has more recently designed the visual effects for Hancock, Inglourious Basterds, X-Men First Class and Django Unchained. He also won an Emmy for the Battlestar Galactica pilot. It is no wonder that he will soon be receiving a Lifetime Achievement Award from the Visual Effects Society.

Join us as he shares behind the scenes on Star Wars, speaks about his transition from an artist to a VFX supervisor, and gives us his thoughts on the state of VFX today. Read more. . .



Speaking of Star Wars...
What Star Wars Means To Me

What Star Wars Means To Me

Creative COW Contributing Editor Mike Cohen is far from alone in being deeply touched by the 1977 classic. This seemed the perfect opportunity to revisit what he recently wrote about that experience. "Part of the criteria your future spouse must meet is a deep knowledge of the Star Wars Universe," Mike says, "but how did the magic, the action, the VFX, and The Force, change you?"
Subscribe or Unsubscribe



Gravity, the highly-acclaimed, intensely emotional space thriller, has been hailed as some of the -- if not the VERY -- best 3D footage ever seen on the big screen. This has led to some surprise when learning that Gravity was NOT shot in 3D. However, it wasn't entirely converted in post, either. It featured an innovative and unique workflow that incorporated 3D conversion during production as well as a complex integration with 3D VFX. In a conversation with Prime Focus World, Creative COW's Debra Kaufman offers this exclusive, comprehensive look at how they did it. This is a truly incredible story that you won't want to miss. Read more....


Restoring Mary Pickford's Lost Film

Restoring Mary Pickford's Lost Film

Restoring Mary Pickford's Lost Film

Actor, screenwriter, producer and United Artists co-founder Mary Pickford made 205 films in her very productive life. Of those, ten features and 25 shorts were believed lost.

Earlier this month, one of Mary Pickford's shorts -- Their First Misunderstanding (1911) -- was saved from oblivion. The incredible story of how a lost film was found and then salvaged involves more than a little luck, along with the knowledge and skillset of a group of committed film archivists and film preservationists. The story begins in a dilapidated barn. Read more...


A Conversation with Bill Feightner, New Colorfront CTO



A Conversation with Bill Feightner, New Colorfront CTO

Image scientist Bill Feightner has been responsible for many of the industry's visual creative milestones, including digital color separation and the world's first 4K DI. Just prior to receiving a SPMTE Lifetime Achievement Award -- ready to join his Emmy Award and Technical Achievement Award from AMPAS -- we spoke to Bill about co-founding EFILM, his new role at Colorfront, and the future of color and image science, remote collaboration, and post-production operations.
Subscribe or Unsubscribe



David Franco is an award-winning French cinematographer who is best known for his work on Boardwalk Empire, Game of Thrones, Desperate Housewives and 3000 Miles to Graceland. After moving to Montreal to study communications at University of Quebec, David started his own production company producing music videos and segued into feature films and major network television.

David and Ben Consoli, host of the Go Creative Show, discuss how Boardwalk Empire turns modern day New York into a 1920's prohibition-era Atlantic City, David's lighting techniques, the importance of the art department on a period piece, shooting episodes of Game of Thrones, working with Steve Buscemi, Martin Scorsese and more. Aside from Boardwalk Empire David shares experiences from his work on feature films like 3000 Miles to Graceland and The Whole Nine Yards, his early music video career and more as Ben Consoli goes Behind the Lens with David Franco.


Editing Like a Great Novelist

Editing Like a Great Novelist

Editing Like a Great Novelist

Insights for becoming a better writer easily make the transition to the editing world. Kylee Wall gleans from the masters - Vonnegut, Elmore Leonard, Palahniuk - and highlights simple ways to finesse your storytelling abilities.


Zelin: BMD Audio Monitor

Zelin: BMD Audio Monitor

Zelin: BMD Audio Monitor

The Blackmagic Audio Monitor offers rack mount audio monitoring from an advanced 6G-SDI input, AES/EBU and analog audio sources in a compact and elegant package. Bob Zelin gives the 'eagle eye' look as he zooms in on its real-world application in XOS Digital's extensive broadcast media asset management system.
Subscribe or Unsubscribe



Modern Videofilm Senior Colorist Natasha Leonnet most recently worked on Machete Kills, her sixth collaboration with director Robert Rodriguez. Leonnet learned to color correct in Germany and Denmark and, in the U.S., has worked at ILM and E-FILM prior to moving to Modern Videofilm in January 2013. Among the movies she's color-corrected that she's particularly proud of -- in addition to Machete Kills, of course -- are all of Rodriguez's other films she's worked on, The Life Aquatic with Steve Zissou, Arbitrage, Love and Other Drugs and the upcoming Labor Day.

"Ordinarily, my goal with color correction is to create a DI with no color signatures, something that could have just as easily gone through the lab and look just as seamless and natural," Natasha says. In Machete Kills, Robert wanted such a stylized look that it was an opportunity to use the tools to create images that were clearly affected by color correction. I won't say that never happens but it's more unusual than usual. That was exactly what he wanted. Color correction for every movie is always a collaboration. But Robert takes that to a different level.

Natasha's conversation with Creative COW's Debra Kaufman provides some of the best insights yet into the digital intermediate color grading process yet -- as well as a look at a career path that began with...still photography?!? Read more here....


And go Behind the Lens with filmmaker Nick Ryan on "The Summit"

Behind the Lens: The Summit with Nick Ryan

Behind the Lens: The Summit with Nick Ryan

In August 2008, eleven climbers died on K2, the Himalayan peak nicknamed the Savage Mountain. In The Summit, filmmaker Nick Ryan delves into the mystery of what actually happened that day, in a masterful collage of footage taken by the climbers, stunning aerial shots of K2, interviews and re-enactments. Take a look behind the lens with Nick Ryan as he relates how he respectfully re-captured those tragic moments.
Subscribe or Unsubscribe



It wasn't the effects and it wasn't the cast that made 1933's King Kong the enduring classic that it is (though Fay Wray got a clear shot at immortality). It was the story. The story of a big lug with a soft spot a mile wide. Creative COW's Stephen Menick offers some observations about why today's filmmakers would do well to sit at Kong's feet.

While acknowledging the world of possibilities opened by the latest VFX and camera technologies, he observes that Kubrick was among the directing greats who wrestled with everything beyond the visual aspects of moviemaking. "Story's always the hardest thing," Stephen says. "If it's enough to keep the Kubricks scratching their heads, then the rest of us, the non-geniuses, would do well to clear our modest brainspace of everything else."

Stephen's provocative discussion uses examples from throughout movie history as he makes his point that movies aren't a visual medium. They're an emotional medium.


Will 2014 Be the Year of 4K?

Will 2014 Be the Year of 4K?

Will 2014 Be the Year of 4K?

UltraHD, or 4K, has been making an appearance at trade shows for the last couple of years. At this year's IBC in Amsterdam, the demonstrations and products pushed forward the idea that 4K is a possibility for TV distribution and general production and post. Creative COW takes a look at the offerings and the opportunities.


As we say hello to Season 3 of Homeland on Showtime, and say goodbye to AMC's breaking bad, don't miss our conversations with the cinematographers of these two remarkable shows.


Behind the Lens: Homeland's David Klein, ASC

Behind the Lens: Homeland's David Klein, ASC

Behind the Lens: Michael Slovis, ASC & Breaking Bad

Behind the Lens: Michael Slovis, ASC & Breaking Bad
Subscribe or Unsubscribe



Homeland and Breaking Bad are two of the most highly regarded shows on television. Both shows have won many awards, including Breaking Bad's Emmy win as 2013's Best Drama. That AMC series is winding down just as Season 3 of Showtime's Homeland gets underway this Sunday. We're delighted to bring you conversations with the cinematographers for both of those remarkable-looking shows.


Behind the Lens: Homeland's David Klein, ASC
David Klein, ASC is currently Director of Photography for two premium cable hit series: Showtime's Homeland, which returns for a third season on September 29, and HBO's True Blood.

David Klein, ASC started his career in cinematography as a child, when he got his hands on his father and grandfather's cameras. His career got off to a bang with Clerks, Mallrats and Chasing Amy. Since then he shot several TV series including Pushing Daisies and numerous indie and studio films including Clerks II, Zack and Miri Make a Porno, and Red State. David talks about shooting Homeland, his start in cinematography, what film school did for him, and being still primarily an Alexa show, but having added a RED Epic, Canon 1D C and Canon 5D to the mix for the current season.


Behind the Lens: Michael Slovis, ASC & Breaking Bad

Behind the Lens: Michael Slovis, ASC & Breaking Bad

Behind the Lens: Michael Slovis, ASC & Breaking Bad

Michael Slovis, ASC is behind the lens at the enormously popular and critically acclaimed AMC show Breaking Bad where he's shot four seasons and earned three Emmy nominations. Although his early work was in independent film in New York, Slovis has had a long, successful run in episodic TV including work on Fringe, CSI: Crime Scene Investigation, 30 Rock and many others. In one of the most compelling entries yet in our Behind The Lens series, edited by Debra Kaufman, Michael talks about the pleasures of shooting film, his stock choices (which he feels have never been better), why he sticks with prime lenses, and some of the dramatic approaches to visual storytelling that Breaking Bad creator and Executive Director Vince Gilligan has developed for the show.


The Wizard of Oz: A Hollywood Jewel Now in 3D and IMAX

The Wizard of Oz: A Hollywood Jewel Box Now in 3D and IMAX

The Wizard of Oz: A Hollywood Jewel Now in 3D and IMAX

The Wizard of Oz debuted in 3D and IMAX on September 20, and it's a treat not to be missed. For almost a year, a Prime Focus team in Los Angeles and Mumbai carefully rotoscoped and composited each scene to create a respectful, eye-opening 3D version of this iconic movie. The result reveals all the beautiful artistry and craft that went into this much-loved classic.


Remembering Ray Dolby: A Life of Invention


Remembering Ray Dolby: A Life of Invention

Remembering Ray Dolby: A Life of Invention

Ray Dolby gave his talents and his name to the most significant advances in audio recording, for both the professional film/TV/music industries and consumer products. On the occasion of his death, at age 80, Creative COW tells the story of his life, his engineering achievements and the impact he has had on the creative people in our industry.


And don't miss Ryan Salazar's IBC Report, and Debra Kaufman's update on the latest from Autodesk.
Subscribe or Unsubscribe



Attending Video Production conferences and educational seminars can add to your pool of creative resources, but you're missing out if you don't take the opportunity to meet people and make connections. Editor and Social Media Maven at Biscardi Creative Media, Kylee Wall shares her Top Ten List of Networking Tips for Video Production Conferences.


Adobe Ups Creative Cloud and Adobe Anywhere

Adobe Ups Creative Cloud and Adobe Anywhere

Adobe Ups Creative Cloud and Adobe Anywhere


Adobe has updated its Creative Cloud with 150 new features, including numerous video tools for Premiere Pro, After Effects, SpeedGrade and other components. In addition, the company has also planned significant updates to Adobe Anywhere Video, the "modern collaborative workflow platform" that allows Adobe pro-video solutions benefit from centralized media and assets across standard networks.


Sony Media Cloud Services Debuts New & Enhanced Services

Sony Media Cloud Services Debuts New & Enhanced Services

Sony Media Cloud Services Debuts New & Enhanced Services

Sony Media Cloud Services just debuted three new production applications (RoughCut, AudioReview and VideoReview) as well as integration of Sony's wireless camera adapter. The cloud service has already been in heavy use at Sony Pictures, and is newly adapated by broadcasters and other media and entertainment organizations.


HP's New Z: ZBook Mobile Workstation

HP's New Z: ZBook Mobile Workstation

HP's New Z: ZBook Mobile Workstation

HP is targeting disgruntled Apple Mac Book Pro users with a line-up of three ZBook Mobile Workstations, including the ZBook 14, which the company terms "the first workstation Ultrabook." Also new are enhanced Z Workstations featuring the latest in Intel architecture, the Ivy Bridge Xeon processor and Thunderbolt technology for high-speed data transfer, and two new Z Displays. These machines are far from mere attempts to "catch up," though. Instead, they offer features and power not seen elsewhere, and are turning heads of even hardcore Mac users.

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]