Table of Contents
This issue features articles on editing commercials; affordable HD equipment; mobile production on the road AND in the air; and a Spotlight on production in the West Coast region.
While preparing to shoot 127 Hours, acclaimed director Danny Boyle and cinematographers Anthony Dod Mantle and Enrique Chedik discovered what a growing number of digital filmmakers already know: If you want to get the impossible shot, get Michael Mansouri, the DIT who founded HD Camera Rentals (www.hdcamerarentals.com) in Los Angeles.
Shooting HD has never been more affordable. Cost-effective, high-performance HD cameras from Canon, GoPro and Panasonic have provided solutions to budget-challenged projects from California to Uganda.
Mobile production isn't just trucks hitting the road. Helicopters and fixed-wing aircraft offer perhaps the ultimate in mobility taking to the air to capture the action, record spectacular vistas and provide unique viewpoints. Three leaders in the field of aerial cinematography talk about what it takes to go mobile — way above any road.
The rubber met the road for a number of new HD production trucks and support vehicles this year. Major vendors introduced expandos, hybrids and B units packed with the latest gear to handle any sports or entertainment assignment. Designed with forward-thinking 3G and stereo 3D-ready infrastructures, they represent the first of a new generation of multi-purpose trucks to meet client demands today and tomorrow.
It's been a hundred years since California began luring moviemakers to its sunny clime. Its film heritage, impressive infrastructure and varied landscape still make it the nation's number-one film and TV market. Neighbors Oregon and Washington are part of the West Coast action, too, with the former making significant strides and the latter holding strong despite its proximity to production-friendly Canada.
To introduce its new 3D television, Sharp Electronics Corporation asked its advertising agencies for a commercial illustrating the breakthrough technology. In other words, the assignment was to persuade viewers watching conventional 2D television that a 3D television image is spectacular.
While most print magazines struggle to sell enough advertising to live on these days, a handful of publications have discovered that a multimedia company with print publications, websites and television programming can generate more advertising revenue than just a magazine — because each format advertises the others and gives advertisers a host of different ways to tell their story to prospective customers.
“I had mixed feelings about 3D and felt it was improper to talk about [them] before I'd shot and edited 3D. I was interested in trying the 3DA1 because of its side-by-side lenses. I thought it could be a new, cost-effective way of creating 3D."