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Sunday night's episode of Homeland was one of the most stunning yet for the Showtime series that won the Emmy® Award for Best Drama just a few weeks ago. It was directed by Lesli Linka Glatter, featured in Creative COW Magazine just after she won a DGA Award for "Outstanding Directorial Achievement in Dramatic Series, Night" for directing Mad Men. Having now directed over 100 episodes of TV, plus several features and shorts, hers is an amazing story of team-building on the fly, creating compelling stories under intense deadlines.

When we originally spoke to her, we pointed out that her career raises the question: where do you go when your first film is nominated for an Academy Award®, your next job is for Steven Spielberg, and just a few years later you earn your first DGA Award nomination working for David Lynch? For Lesli, the answer has been -- you go anywhere you want to! We spoke to Lesli about directing for both episodic TV and film, visual storytelling, and a journey that began at AFI's Directing Workshop for Women.

Join us now on A Storyteller's Journey.
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It turns out that there are sometimes problems more pressing than Apple's plans for FCPX, or ARRIRAW worfklow for DaVinci Resolve. Fast, authoritative answers to these kinds of questions are at the heart of what has been providing for a dozen years, but the real problems aren't always at work: sometimes, they're at home.

Kylee Wall is among the members of Creative COW thinking about adding kids to her family. Hundreds of thousands of the 2 million people who pass through every month already have kids, of course, but we still very rarely talk about family issues with our production and post-production peers. Kylee is taking steps to address this with her new series, "Parenthood In Production And Post," starting with "Being An Editor Dad." Readers -- and there are a lot of them -- are already responding strongly to the series, both in the COW and across Twitter, Facebook and beyond. Take a look for yourself, and continue the conversation about what really matters.

Parenthood In Production And Post: Being An Editor Dad.
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Sony's F65 camera was brand new when seasoned cinematographer Michael Goi, A.S.C. decided to be the first to use it to shoot for television: the pilot of the NBC comedy hit The New Normal. A past president of the American Society of Cinematographers, Michael's other recent projects include Glee and the first two seasons of American Horror Story, the second of which will begin airing Wednesday, October 17 -- and which Michael is shooting on 35mm film.

"Every format opens up its own creative possibilities," he says, and as much as he enjoys working digitally when the project calls for it, there are aspects of film-based workflows that he still prefers. "I prefer to work with a dailies timer as opposed to a 'lab-in-a-box' approach. I have always been most comfortable with having another pair of eyes in the dailies timing room on the footage that have been shot. I'm the kind of person who likes to go in at 2 am and sit down with the dailies timer and talk about the footage and the artistic objectives."

Michael also talks about the ways that camera choices affect the entire set, -- and not just the shooting crew -- and how all of that filters into post. Insights abound in this exclusive conversation with Creative COW from one of the industry's most respected cinematographers.
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Lawrence of Arabia. The name itself conjures far more than the stunning performance by Peter O'Toole in David Lean's 1962 film of the same name. It conjures words like "epic," "groundbreaking," "landmark," and a host of superlatives that point to Lawrence of Arabia as one of a handful of films that vie for the title of greatest ever.

Sony Pictures Entertainment recently finished a 3-year process culminating in a stunning 4K restoration of this masterpiece, completed just in time for the film's 50th anniversary. Guided by Sony Executive Vice President Grover Crisp, the massive restoration 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.

Remarkably enough, Lawrence of Arabia was first restored in 1988, in a process supervised by director Lean and the film's editor, Anne V. Coates. While the process at that time was able to camouflage a number of major problems, the 4K scan in 2009 made apparent how much work was still ahead of them to prepare Lawrence for its 50th anniversary celebration.

Consider this story required reading for anyone interested in cutting edge technology in general, and certainly for anyone looking for deeper insights into one of the true pinnacles of filmmaking.
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There may not be any more controversial topic in cinematography than high frame rates. Dave Stump, ASC, is a co-chair of the SMPTE Working Group on High Frame Rate Cinema, and hopes to help the industry make some sense of it. The upcoming releases of The Hobbit and Avatar 2 have highlighted a number of issues that the entire filmmaking community is going to have deal with, including exhibitors.

Dave wears a number of additional hats at other organizations. He is a member of the Producer’s Guild of America (PGA), the International Alliance of Theatrical Stage Employees (IATSE), Visual Effects Society (VES), the Society of Operating Cameramen (SOC), the Academy of Motion Picture Arts and Sciences (AMPAS), and the Academy of Television Arts & Sciences (ATAS). At the American Society of Cinematographers (ASC), he co-chairs the subcommittee for Cameras, as well as the subcommittee for Metadata.

In other words, Dave is a man who knows something about standards -- and as he points out, "SMPTE standards and recommended practices don't extend to higher frame rates, so the HFR working group was a necessary step towards that."

A winner of an Academy Award for Technical Achievement as well as a cinematographer, VFX cinematographer, VFX supervisor and much more, Dave speaks from a variety of perspectives as he describes the early days of progress towards standards for High Frame Rate cinema.

Read the article online at

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Pioneering HD cinematographer B. Sean Fairburn, SOC is working on ways to make 3D cinematography possible for all kinds of difficult and dangerous activities. Among his film credits so far are Windtalkers, Once Upon a Time in Mexico, Expendables and The Mechanic. His TV credits include Super Bowl XXXVIII, Star Trek Enterprise, House MD, American Dreams, and the documentary Inside the Space Station.

As a U.S. Marine, Sean shot the beginning of Operation Iraq Freedom by mounting an HD camera on the back of a Humvee and accompanying U.S. Marines from the breach into Iraq to the streets of Baghdad. Looking for his next challenge after that, Sean turned to 3D cinematography, and has come up with some ways to work that are faster, cheaper, and far more flexible than other approaches to date.

No matter how you feel about stereoscopic 3D, you're going to be exhilarated and inspired by the ongoing innovation of one of the industry's most creative cinematographers.

Read the entire article at
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You've heard that most people use less than 10% of their brains? It's true for your software too: people can often leave the most powerful features in every release untapped while they focus on features they already know. Adobe expert Richard Harrington takes a look at 10 new features in Adobe's Creative Suite 6 that will unlock the power of new tools that you may not have known even existed. You may already have seen some of them, but Richard will take you deeper as he explores Adobe CS6 Secrets.

View the ten part series at
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Mr./Ms. Editor, meet Mr. Pressure! Multicam guru Mitch Jacobson shows how the technical and creative skills that you've developed in the edit suite translate to live production even better than you think -- if your heart can handle the strain.

Sure, we all feel pressure as editors, but it is nothing like the racing towards a live event! With the live shows, you don't have a second chance. It is live, and you must make every decision in a split second -- and it has to be perfect. You must juggle everything all at once and execute with style, precision, flair and confidence. Mitch has learned the hard way, by live-producing multicamera shoots for clients as diverse as U2, Paul McCartney, the NFL and America's Got Talent, that sometimes the biggest problems can be solved with the smallest tricks.

This is just the first part of Mitch's deep dive into the intricacies of getting live multicam production right, every single time -- part of his quest to rid the world of bad multicam forever.

Read "Live on the Net Without a Net: Cutting Live".
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Broadcast engineer Ryan Salazar has had to stay on top a lot of changes these days. Transitioning the eight audio suites at studioZ from analog to digital sounded daunting, but he tackled it the same way that other broadcast engineers have always tackled problems: with careful planning, one step at a time.

He actually found that it was easier than he thought. He also found that, whether you're working in broadcast or post, the benefits of working digital will become apparent virtually immediately. Here are the steps Ryan took, the results he got, and his advice for getting it done yourself.

Ryan tells Creative COW, "In today's technological world, there is no reason to still be using analog for your audio signal. Analog is ancient. Analog is archaic. Analog is antique. Digital is the way -- all the way. And it's not that difficult of a move, if you do it correctly and systematically. I want to talk a bit about why you should make the move and discuss how it was time-consuming but worth the effort. Not only will you be pleased with the results, you'll have moved into the present and be ready to leap into the future!"

Read more:
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SIGGRAPH member, Ryan Salazar highlights a number of the key products and services from the largest and most complete display of goodies from the computer graphics and interactive techniques industry - an event which boasted over 160 industry organizations exhibiting in a mind-blowing 44,750 square feet of exhibit space. It's the year's largest and most complete display of products and services for the computer graphics and interactive techniques industry. SIGGRAPH 2012 exceeded the past three years, with even the final SIGGRAPH 2011 exhibit numbers left in the smoke!

For those of you interested in the numbers, SIGGRAPH 2012 is the world's premier conference on computer graphics and interactive techniques. In 2012, SIGGRAPH received over 21,200 artists, research scientists, gaming experts and developers, filmmakers, students and academicians from 83 countries around the world in Los Angeles, with a total of 19 countries represented on the show floor! Over 160 industry organizations exhibited at SIGGRAPH 2012, in a mind-boggling 44,750 sq. ft. of exhibit space -- about 5,000 sq. ft. more from the SIGGRAPH 2011 event! Check out the floorplan:

As we all know, the SIGGRAPH conference is held by the Special IInterest Group on GRAPHics -- including Interactive Techniques -- and is one of the most important research assemblages within the ACM, the premier research society in computer science. Game developers often do pioneering studies while developing games i.e., writing new and unique algorithms that may or may not be used for the game they're creating, and SIGGRAPH is a forum to showcase those efforts.

"The SIGGRAPH exhibit hall has become notorious for delivering the newest leading hardware systems, software tools, and creative services. Not only are we witnessing an influx in exhibitors, but also in first-time exhibitors that bring with them some of the industry's most cutting-edge and advanced technology," said Mike Weil, SIGGRAPH Exhibits Manager.

So what were this year's most exciting and show-stopping entries? Join Ryan Salazar as he takes you inside SIGGRAPH 2012...
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