|
Set in Baltimore, Maryland, The Wire will begin its fifth and final season January 6, 2008 on HBO. As different from standard TV as it gets, the show has received the highest levels of critical acclaim, being referred to by multiple reviewers as "the best show on television." In its last issue of 2006 Time Magazine ranked The Wire first on its list of "10 Best TV Shows."
Creative COW's Nick Griffin spent time on-set earlier this year and interviewed one of the show's Producers. They talked about shooting styles, lighting and camera strategies and many other elements that go into making The Wire one of the most well produced shows on television.
Here is Nick Griffin's inside glimpse into The Wire and its production.
| | | Subscribe or Unsubscribe |
On November 17th, the new issue of Creative COW Magazine was announced
across most of the COW site and if you haven't already downloaded the
PDF of the new issue of Creative COW Magazine, then visit the magazine
site, as this is an issue that is getting a lot of positive feedback
from readers. In the new "Commercials" issue, you will meet one of the
men that made Max Headroom such an 80's icon. He'll share strategies and
how it all came about, including some of the techniques used. One of the
members of the legendary Robert Abel & Associates team takes you inside
some of the earliest uses of CGI and how these commercial techniques
preceded their later use in the world of film. You will also be taken
inside a direct response advertising expert's world and how it works and
why. You will also learn how one man made a commercial that you would
swear used 3D software but doesn't. You will discover five ways to get
control of your billings and make more money with less stress. Watch as
one woman handles 11 deadlines a day -- and you thought you had it bad,
eh? Learn an artist's secrets for high-end graphics workflows. And take
a tour of drive technology of the past, the present and the future. Download it
here.
| | | Subscribe or Unsubscribe |
Many aspects of HD production cost just about the same as SD production did. Thanks to new formats, HD production sometimes actually costs less than SD production does. But one of the most critical pieces for professional-strength editing is an external broadcast monitor for your work....and HD versions of those cost much, much more than their SD counterparts.
Desktop LCD monitors cost less, and make beautiful pictures, but haven't been up to the job of broadcast HD monitoring. Creative COW leader Shane Ross has experienced this the hard way in his HD editing for Discovery, The History Channel, and many more.
Enter the Matrox MXO, a converter box that sounds too good to be true: true, fully-calibrated HD broadcast monitoring using the DVI spigot on an Apple Cinema Display -- or a laptop! -- for less than half the price of previous options. Join Shane as he puts the Matrox MXO to the test, over months of HD broadcast monitoring. Is it too good to be true? Or truly good?
Read more...
| | | Subscribe or Unsubscribe |
A few years back, Sony rocked Comdex by pulling out out of the show, spurring a rash of speculations and rumors. But once the initial smoke had cleared and people began to crunch the numbers, it was clear what Sony knew and what had prompted their decision. This week, Avid has been generating similar press and speculation after their press release yesterday saying that Avid would not be on the expo floor of NAB 2008.
While some people argue that this is a sure sign that Avid is doomed and is headed for bankruptcy, here at the COW we see a different image and you can read all about it in the COW Report, fresh from the farm...
Read Ron Lindeboom's editorial here...
Read AVID's official press release here...
| | | Subscribe or Unsubscribe |
Sony Music has the pieces for you to put together. Shane Ross has the story.
Looking for stories about professional creativity? About business? About technology? About interesting stuff we've found? The Creative COWBlogs are the place to look. Here's a perfect example. Shane Ross came across Sony Music's offer to build a new Tori Amos song using multicam and greenscreen footage that they've provided. Sony's even got a video tutorial that shows how those features work in Final Cut Pro! Here's Shane's report.
Some other recent stories you might have missed:
Walter Biscardi's overview of what Color can do
Walter is also tracking Leopard.
Here's a follow-up to Shane's article on safe upgrades.
Aharon Rabinowitz wonders, What is speech?
Here's part 1 of Mike Cohen's fall TV round-up.
Get the idea? The forums are the place to solve problems. The blogs are a place to put up your feet and let your mind wander. We know you'll want to see everyone's COW blog so swing on by. Hey, and while you're there, get your own COWblog!
|
| | Subscribe or Unsubscribe |
Cinematic compositing takes more than software. It takes careful planning, understanding the drama in every shot, and a sense of magic. It doesn't take a big budget.
In this Creative COW Magazine extra, we begin with our conversation with director Mark Allen, discussing his short film, "Least Likely." This 60-second science fiction epic was shot start to finish in 8 hours, including greenscreen shooting of a major fight sequence, on a budget that covered little more than food.
We've got Mark's film here at CreativeCOW.net, along with some HD images from it. Prepare to be amazed.
The article "Building Cinematic Composites" originally appeared in Creative COW Magazine's "Film Values" issue (September/October 2007). Other articles included conversations with filmmakers contributing to films and TV shows including Stranger Than Fiction, Friday Night Lights, Pulp Fiction, and Rain Man among many others. Be sure to get your complimentary subscription to the Cow Magazine in both print and PDF editions.
Read more...
| | | Subscribe or Unsubscribe | | | Subscribe or Unsubscribe |
Creating That Old Film Look with Final Cut Studio 2
Taking advantage of new features in Apple Final Cut Studio 2, CreativeCOW.net Contributing Editor Stephen Smith freshens up the approach to an old effect. Project files are included so you can follow along, and customize to your own tastes. Stephen Smith
FCP Titling with Boris: Old-fashioned LED Animation
Yes! There's really a Boris! And he really wrote this tutorial for you. It takes advantage of the Boris FX title generators included with Final Cut Pro, with a little help from the Boris Continuum Complete video effects plug-ins, for titling power you might not known you had available inside FCP. Boris Yamnitsky
Introducing: Stop Staring and Start Grading with Apple Color
Allow us to introduce one of the most eagerly anticipated DVDs in Creative Cow Master Series history, Walter Biscardi's overview of Apple Color. Building on nearly 20 years of professional editing experience, as well as years of experience with Apple Color (and FInal Touch HD before it), he's got the perfect perspective to make working in Color easier than you imagined. It's the disk he wished he had when he started using Color. Walter Biscardi
| | | Subscribe or Unsubscribe |
The new issue of Creative COW Magazine is one that we feel may be the best issue we have ever done. It is filled with ideas, techniques and the experience of some highly experienced pros whose credits include The Green Mile, Rain Man and many other A-List projects.
If you are looking for the easy way out and a look like many other video projects done using canned looks, this is not the issue for you. But if you want real world advice from top experts that are at the top of their craft, then you won't want to miss this newest issue of Creative COW Magazine. It's definitely a keeper!
You can download it now, at the following links...
To download the read-friendly Spread Edition, with facing pages...
http://ayrshire.creativecow.net/cowmag_pdfs/COWmag_SeptOct2007_spreads.pdf.zip
To download the printer-friendly Single Page Edition:
http://www.creativecow.net/cowmag_pdfs/COWmag_SeptOct2007_single-page.pdf.zip
To sign up for your own print copy, please visit:
http://www.creativecowmagazine.net
| | | Subscribe or Unsubscribe |
In this reprint from Creative COW Magazine, Creative Cow leader and broadcast editor Shane Ross uses his work for The History Channel to illustrate end-to-end workflow using P2 media and the Panasonic HVX200: from a multi-camera shoot in the middle of blazing gunfire, all the way to your living room. Read Shane's article here!
|
| | 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 |
|
