11 blog posts found matching keyword search for: Extras in Eugene
Chips Ahoy, Golden Grahams and Resolve: Color Correcting National Food Spots with Jalal Jemison and DaVinci Resolve
As the lead colorist at BENT Image Lab, Jalal Jemison has it pretty sweet, especially when it comes to grading commercials for Nabisco’s new Ahoy! Extras cookies and General Mills’ Golden Grahams® cereal. BENT Image Lab is a Portland, Oregon based production company and creative laboratory, known for melding art, design and storytelling. It is a place where the brightest ideas are driven with an artist’s passion and realized through the use of cutting edge technology, such as Blackmagic Design’s DaVinci Resolve 9 color correction software.
We had a chance to interview 1st AD Alex Stein to discuss the anatomy of a call sheet. In this article (and video), Alex Stein will break down all the components that should be included in a standard call sheet for film and television.
by featured blog contributor, Jeremy PinckertMost Super Bowl ads are exquisitely planned, taking months of pre-production involving the best creative minds in the business. They also are blessed with stratospheric budgets. But what happens when your client calls you to produce something for the big game, and it’s only weeks away? Put down that Ambien, there’s no need to fret - this survival guide can help you rise to the challenge! The University of Notre Dame found out they needed an “institutional message” to air during college football’s BCS title game. This title game was expected to draw over 30 million viewers, becoming the highest-watched sports game in history outside of the Super Bowl. We received a call to see if I could direct the crew and if my company, Explore Media, could produce the entire spot. The caveat? This happened on a Tuesday morning. They needed to shoot by Friday of the same week! If we wouldn’t have had the background tips I’m going to share in this guide, I don’t think there’s any way we would’ve achieved the results.
Re-creating the past can be challenging for filmmakers, especially when tasked to duplicate the look of a particular time in history for a period movie. Add a tight budget, cramped locations, and underwater photography, and you have the situation James Chressanthis, ASC, faced as cinematographer for the movie The Watsons Go to Birmingham. Based on the novel by Christopher Paul Curtis, the film depicts a fictional family’s 1963 road trip intersecting with an actual terrorist bombing during the civil-rights era. To help with some of the film’s challenging production requirements, Chressanthis used two EOS C300 Digital Cinema cameras and EF-series lenses from Canon U.S.A., Inc., a leader in digital imaging solutions.
Canadian actress and comedian, Mara Marini, best known for her role of Brandi Marxxxx on the NBC Comedy, Parks & Recreation, shares what goes on behind-the-scenes of a television set, her advice to upcoming actors and projects she currently has in the works.
Picture this, you get home from a grueling shoot and realize to your red-faced chagrin that you have absolutely nothing to work with. The audio is shoddy, the shots are overexposed, the focus is wrecked... Whatever it is, you’ve botched the project and you may never get a second chance to fix it.
Your average VR project requires a lot of complicated equipment, a number of complicated steps, and a co-ordinated, full on team effort. In the distant future - think ‘flying cars and robot butlers’ distant - you may well be able to shoot 360 VR films on your iPhone (or future equivalent). For now, the process involves more than just reaching into your pocket and whipping out your phone.
Award-winning screenwriter and former talent agent Lisa Edwards knows a thing or two about what it takes to get into the world of acting. Her success as as owner and Company Director of Melbourne entertainment agency, VisionsMCP, led to other outstanding opportunities such as co-writing an award-winning screenplay, LIMBO. Now she's diving into the world through the eyes of a talent agent and talks what it takes to land that next big role.
So your big budget flick is greenlit for production - congratulations! But where do you go from here? Though your movie will be remembered for what’s seen on screen, it will be created by the hard work off-screen during - you guessed it - pre-production.
Let’s get it straight right from the get-go. Right now there are several very good field recorders/monitors out in the field as we speak. I have had the good fortune of using and reviewing others such as Blackmagic Design Video Assist ($895) and Video Design PIX-E7 ($1695) to name two.