Aesthetic Power By Jon Silberg
From the grim realities of war to an escape to distant fairylands, no world was too difficult to realize in the five films nominated for the Achievement...
Strange Workflow By Craig Erpelding
Mike Belmont (pseudonym M dot Strange) used his self-invented process to create the fully animated Sundance feature, We Are the Strange. Belmont wrote,...
Beta Sight: Autodesk Toxik 2007 By Phil Brennan Asylum Visual Effects
I've been involved with film and commercial visual effects now for 17 years, and I have been at Asylum Visual Effects since 1999 working on films such...
Fade to Black: Stefen Fangmeier, Director By Ellen Wolff
When Stefen Fangmeier prepared to make Eragon, a fantasy featuring a 3,000lb. flying blue dragon, he wasn't concerned about creating a CG star. The dragon...
American Spirits By Kristinha M. Anding
Angelique Midthunder knows she's fortunate. The Sante Fe, N.M.-based documentarian has been able to concentrate her career on her passions: representing...
Edit Review: Audio Ease Altiverb 5 Reviewer: Gary Eskow
Of the many exciting advancements digital audio has given us in the last decade or so, convolution reverb is, in my book, near the top of the list. Convolution...
Mark In
Challenged by the idea of doing HD production in a place that claims to be the largest domed indoor sports facility in the world? That's what Helifilms...
Painterly Rotoscope By Michael Goldman
On his ultra low-budget Sundance feature, Year of the Fish, David Kaplan used rotoscoping techniques over live-action imagery shot with a Sony DSR-PD170...
Chasing the Perfect Pipeline By Michael Goldman
The digital post workflow philosophy behind Craig Brewer's new psycho-sexual drama, Black Snake Moan, which premiered at the 2007 Sundance Film Festival,...
Digital Déjà Vu By S. D. Katz
Previz used to be something you wanted to be the first to turn a director on to, like a great new band or sushi joint. Today, pre-planning on the computer is standard operating procedure...