Liberating Liman 

By Jon Silberg

Coming out of the corner-cutting world of independent filmmaking (Swingers, Go), director Doug Liman was overjoyed that he could collaborate remotely...

Hot Spots 

By Beck Finley

A selection of the hottest agency work submitted monthly to Millimeter...

Out and About 

Industry Events...

At the Cinematographer's Picnic 

By Cynthia Wisehart

My almost-three-year-old laughed out loud as we passed the J.L. Fisher booth and the huge jib arm with the happy face swung down and brushed her on the...

Hot Spots 

By Beck Finley

A selection of the hottest agency work submitted monthly to Millimeter...

Rodriguez and 3D Post 

By Michael Goldman

Robert Rodriguez says that even as production of Shark Boy and Lava Girl in 3D entered the 11th hour, he decided to make a major change in the postproduction...

Mac Effects 

By Michael Goldman

The Cave, which premieres in August, is a horror film chock full of creature-oriented visual effects (250 shots), but the workflow was anything but typical....

Low-budget widescreen 

By Michael Goldman

When director Tom Zuber approached DP Lisa Wiegand to shoot a low-budget (less than $1 million) feature called Little Athens, they first discussed shooting...

Idol's Choice: DNxHD 

By Michael Goldman

This year, American Idol became, among other things, the poster child for Avid's DNHD codec and its application in broadcast postproduction. That happened...

Fade to Black:
Arnaud Desplechin, Director 

By Darroch Greer

To see one of Arnaud Desplechin's films is to experience life at the tipping point, yet know you are in safe hands. His latest, Kings...