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  • CINDY Awards

    News: CINDY Awards

    Frankly, the notion of entering award events and festivals might seem anathema to some of you. You don’t see the point. “My work speaks for itself” is a
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    From the Editor: Roots and Branches

    The old adage “Everyone has to start somewhere” is both obvious and somewhat profound. In the digital age, however, the “where” sometimes gives the starter
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    From The Editor: Fire! Donald Trump!

    With aging comes memory loss. So goes the conventional wisdom, anyway. Maybe it’s a matter of semantics, though; it’s not that we can’t remember things,
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    From the Editor: Do You Show?

    Do you Show? I mean do you go to Trade Shows, like NAB or CineGear?
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    From the editor: Location, Local, Location

    The real estate sales mantra, “Location, Location, Location!” can fit nicely with the independent filmmaker’s mantra, “Keep It Cheap.” The majors can send
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    From the Editor: Tab, You’re It

    If you are reading this on a tablet or a smartphone, you are among the majority. Not that we’ve done a survey or anything, it’s just the idea that busy
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    Making TV: Waking Up Naked

    Henry Morgan, the main character of Forever, cannot age and cannot die. Two hundred years ago, serving as a physician on a slave ship, he was murdered and
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    Making Commercials: Promoting The Simpsons

    Rolling Stone magazine says that the year-old FX network channel FXX ranked 49th among cable channels catering to 18- to 45-year-olds when it first came on
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    From the Editor: Will Clouds Reign?

    A few years ago, clouds were considered metrological phenomena. Artists loved them, kids stared at them, cartoonists found all kinds of objects in them and
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    Making Commercials: Fluid — Dead Man Walking And Chewing Gum

    “It’s a take on Monty Python,” says Editor John Piccolo of Fluid, the editorial studio that handled the project. With offices in New York and Los Angeles,
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    From the Editor: Camera? Who needs a camera?

    Today’s cine cameras can fit in a shirt pocket and produce digital output at the highest resolution the delivery systems can reproduce. And in keeping with
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    Making TV: Mathias Herndl — Why-Done-It

    Like Columbo, Motive has a formula. It reveals the murderer and victim in the first two scenes. Then it cuts to the police at the scene of the crime
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    From the Editor: Music in the Air

    While I cut my cinema teeth on a Mitchel BNC, Arriflex 16 and Éclair in the 1960s, I found my niche in audio. I was the “sound guy” on dozens of
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    Making TV: Yasu Tanida - Starting The Blacklist

    It took 19 days to shoot the one-hour pilot for The Blacklist. Typically, pilots require more time to shoot than the remaining episodes from a show’s first
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    Making Commercials: Stardust - Psychedelic Tech

    If you have seen “Samsung Galaxy, London Collage,” the commercial that launched the latest Samsung Galaxy Note smartphone and Samsung Gear smartwatch, you
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    From the Editor: Markee Needs You

    There are few industries that have been impacted by technology more than film and video. From new ways to make them to new ways to show them, the market
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    Digital Discussions: Getting on Screens Everywhere

    The buzzword is “second screen,” but that doesn’t really tell the tale. Producers are looking at many more than two screens to show their work.
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    Making TV: Shooting Homeland

    Before beginning work on season three of Homeland, cinematographer David Klein, ASC, asked the show’s executive producer and writer, Alex Gansa, “Who do I
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    Making Commercials: Lighting Up The U.S.

    The National Football League unveiled a new treatment for its iconic copyright logo during the playoff games in January.
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    Making TV: Shooting Lawyers

    Some television shows want you to forget about the camera and focus on the emotional contact among the characters. The Good Wife is a show like that.