Dylan's Pipeline 

By Michael Goldman

Martin Scorsese's recent documentary No Direction Home: Bob Dylan, was "one of the more challenging multi-format jobs we have ever dealt with," says Ben...

Indie Animation 

By Michael Goldman

The independently produced CG film movement takes another step forward with this month's release from the Weinstein Company, Hoodwinked. Producers insist...

Murch on Mixing 

By Michael Goldman

Among other duties while editing Sam Mendes' Jarhead, Walter Murch earned credit as a re-recording sound mixer, along with Scott Millan and Dave Parker....

Keeping Promises 

By Cynthia Wisehart

One of the biggest ovations at NAB this year went to a camera that technically did not yet exist: At the Apple users meeting/press conference, Panasonic's...

Fade to Black:
Hany Abu-Assad, Director 

By Darroch Greer

If I could go back I would not do that! says Palestinian director Hany Abu-Assad about his decision to shoot his critically acclaimed film, Paradise Now, in Nablus, Palestine—and in 35mm. “With 35 you went immediately to a big crew. You went to a place with a war. Then you are immediately responsible for the lives of 70 men. And you are less mobile...

Out and About 

Industry events...

Fade to Black:
Phedon Papamichael, Cinematographer 

By Michael Goldman

Following his success shooting Sideways for Alexander Payne in 2004, Greek cinematographer Phedon Papamichael...

Pretty Pictures 

By Cynthia Wisehart

Normally, I don't get to see enough resolution and color my home theater is the old Trinitron in our living room/playroom. We do have three gorgeous Tannoy...

Genesis Hits TV 

By Michael Goldman

ABC's Night Stalker is distinguished as the first television series to rely on Panavision's Genesis digital imaging camera. Robert Primes, ASC, currently...

Dialogue for Animation 

By Maureen Droney

On Family Guy, Fox's animated series popular for its cutting-edge humor, dialogue reigns supreme. The show avoids audio effects altogether whenever a...