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In honor of Peter O'Toole's passing, we bring you this story of the restoration of the movie featuring his most iconic role.

Lawrence of Arabia: Sony's Beautiful 4K Restoration

Sony Pictures Entertainment finished a 3-year process culminating in a stunning 4K restoration of the 1962 masterpiece Lawrence of Arabia, completed just in time for the film's 50th anniversary. Guided by Sony Executive Vice President Grover Crisp, this massive project engaged cutting-edge technology and expertise from Sony Colorworks DI facility as well as Prasad Corporation and MTI Film, working together on a newly scanned negative. One of the most beautiful films of all time is now more gorgeous than ever.

Lawrence of Arabia: Sony's Beautiful 4K Restoration


Remembering Peter O'Toole

Having seen Lawrence of Arabia as a wide-eyed child, Debra Kaufman had no idea that one day she would interview the star with the flowing white robes and piercing blue eyes. Here, she recalls her interview with Peter O'Toole for The Hollywood Reporter and what makes him an actor whose movies will endure.
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It's not news that Japan has announced its intent to broadcast 8K by the 2020 Tokyo Olympics. In today's production environment, the advent of 4K is still news and 8K seems like a futuristic pipe dream. But when Creative COW Contributing Editor Debra Kaufman was in Japan in November, she learned just how serious Japan is in its intent to broadcast 8K -- and to do so sooner than originally announced.


Wilfred: A Sitcom Shot Entirely on DSLRs

Wilfred: A Sitcom Shot Entirely on DSLRs

Wilfred, the FX Networks quirky comedy about a manic-depressive man who sees his neighbor's dog as a man in a dog suit, is shot entirely with DSLR cameras, including greenscreens. Randall Einhorn, a cinematographer turned Executive Producer/Director, and Director of Photography Kurt Jones talk here about some of the innovative production set-ups they use for this unusual series.


An Odd Delight: A Corporate Editor's Leap Into Broadcast

An Odd Delight: A Corporate Editor's Leap Into Broadcast

Creative COW Contributing Editor Kylee Wall moved from Indianapolis to Atlanta as part of a move from corporate video into broadcast. Sure, some things stayed the same, but so much more was so different -- a new place to live, a new kind of workspace, new kinds of projects, AND TAPE -- that transitioning to a new NLE in Adobe Premiere Creative Cloud was the least of it. Certainly nothing compared to a fever of 104 that took her out for most of her first week. It's a remarkable tale that Kylee tells as only she can.


With Paul Mazursky, It's All Crap!

With Paul Mazursky, It's All Crap!

When Paul Mazursky decided to create a series of intimate conversations with Mel Brooks, Leonard Nimoy and his many other industry friends, Cinematographer Bill Megalos came on board to produce. In this article, Bill talks about the choices he made with regard to camera, lighting and direction to make compelling interviews with a limited budget.
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Hunger Games: Catching Fire continues to burn bright in the eyes of movie-goers, breaking holiday records, and, bringing its box-office total to $572,795,657 worldwide -- in just 10 days!

When we last touched base with editor and longtime Creative COW member and community leader, Alan Edward Bell, A.C.E., he had just finished cutting The Amazing Spider-Man. For The Hunger Games: Catching Fire, we find him reunited with director Francis Lawrence, for whom he edited Water for Elephants. Bell talks about the challenges of editing Catching Fire and some of the gear choices he made to improve the pipeline's efficiency.



Doctor Who 50th Anniversary-Milk's VFX for Day of the Doctor

Doctor Who 50th Anniversary -- Milk's VFX for The Day of the Doctor

When The Mill in London decided to close its TV and Film Department, the staff decided to open up VFX house Milk. They brought with them a first, very challenging job, which was begun at The Mill: creating stereo 3D effects for the Doctor Who 50th Anniversary Special. Here's how the newly launched company took charge to create some memorable VFX.



Thor: The Dark World Crowned by Blur's End Titles, Prologue

Thor: The Dark World Crowned by Blur's End Titles, Prologue

Marvel Studios tapped VFX/animation/design company Blur Studio to create a prologue and stereo 3D end titles for its recently released Thor: The Dark World. This is the story of how Blur Studio was able to create both the CG-heavy prologue and graphic novel-inspired 3D end titles in a tight 12-week schedule, from creative idea to completion.



The Sony FDR-AX1 & Your 4K Future

The Sony FDR-AX1 & Your 4K Future

Even though it's not yet a broadcast format, 4K production has been happening every day for years -- delivered as HD. It offers the same advantages that early HD production offered for SD delivery, including beautiful downscaling and a measure of future-proofing. Looking for a flexible, affordable way to jumpstart your 4K future? Join longtime Creative COW leader Douglas Spotted Eagle for a look at Sony's FDR-AX1 camcorder.
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When we last touched base with editor and longtime Creative COW member and community leader, Alan Edward Bell, ACE, he had just finished cutting The Amazing Spider-Man. For The Hunger Games: Catching Fire, we find him reunited with director Francis Lawrence, for whom he edited Water for Elephants. Bell talks about the challenges of editing Catching Fire and some of the gear choices he made to improve the pipeline's efficiency.


Behind the Lens: Kramer Morgenthau, ASC on Sleepy Hollow

Behind the Lens: Kramer Morgenthau, ASC on Sleepy Hollow

Kramer Morgenthau, ASC has shot over 60 films films, including Thor: The Dark World. He also been nominated for 5 Primetime Emmys for his television work, and won an ASC Award for his work on HBO's Game of Thrones. He also shot the pilot for the Fox hit Sleepy Hollow, which gave us an opportunity to talk to him about his work, his influences and his philosophy of lighting and camera moves.
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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.
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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.
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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?"
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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.
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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.
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