In issue #153 of If Magazine (June-July 2013), If launched an exclusive workflow series written by one of Australia's leading post-production and digital media practitioners, John Fleming. To be released in four instalments, the series will explore the different approaches to workflow associated with digital content production. This first article looks at the main influences and identifies the building blocks for a future focussed digital workflow. Other articles will take a more detailed look at the workflows associated with specific genres. Find the second instalment of the series in If #154 (August-September), on sale now..
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Feature Film Snapshots
In creating a finished feature film many hours of content must be carefully distilled into a hundred minute Master. From a creative perspective, allowing the ongoing evolution of the idea until the very last moment is seen by many Directors as highly desirable. The following .snapshots. provide insights into some key trends that look to support this ideal.
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Feature Film Snapshots
In creating a finished feature film many hours of content must be carefully distilled into a hundred minute Master. From a creative perspective, allowing the ongoing evolution of the idea until the very last moment is seen by many Directors as highly desirable. The following .snapshots. provide insights into some key trends that look to support this ideal.
- 9/4/2013
- by John Fleming
- IF.com.au
Post-production house Cutting Edge has become the first Australian facility to work with the new Arri Alexa camera in a feature film context, on Kieran Darcy-Smith’s debut Say Nothing.
“No other digital cinema camera I have graded has come as close to capturing the subtle characteristics of colour and light compared to 35mm film,” said digital intermediate and rushes colourist Adrian Hauser.
Cutting Edge is working closely with Dop Jules O’Loughlin to determine the acquisition method and establish a workflow for the camera. Tests are being performed, from 35mm to the various data acquisition methods available.
Say Nothing is currently shooting in Sydney, and will be completed on location in Cambodia in January.
Rushes are being graded in a film out context and are QC’d daily on Cutting Edge’ five-metre digital projection screen.
“No other digital cinema camera I have graded has come as close to capturing the subtle characteristics of colour and light compared to 35mm film,” said digital intermediate and rushes colourist Adrian Hauser.
Cutting Edge is working closely with Dop Jules O’Loughlin to determine the acquisition method and establish a workflow for the camera. Tests are being performed, from 35mm to the various data acquisition methods available.
Say Nothing is currently shooting in Sydney, and will be completed on location in Cambodia in January.
Rushes are being graded in a film out context and are QC’d daily on Cutting Edge’ five-metre digital projection screen.
- 12/13/2010
- by Miguel Gonzalez
- Encore Magazine
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