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"The audience doesn't expect the norm from ‘Community,’" says Gary Hatfield, the show's director of photography. "One episode is about a paintball war, and then we're dealing with a character who might really be about to commit suicide. The world of ‘Community’ is a crazy, surreal place." The show's creator, Dan Harmon, and executive producers, including brothers Joe and Anthony Russo, have developed a shooting style that encourages directors to shoot multiple takes, allowing the actors to experiment and leaving room for some molding and shaping of the tone during the editing phase.
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Halfway through the “Restrepo” screening at the DGA, I stepped out to check in on my sick daughter; she was OK, but still I briefly debated whether I should just head home. But I could not. I felt I was in the Korengal Valley in Afghanistan with those soldiers and I could not abandon them: No one gets to give up. So I went back inside. I appreciated the irony that in some small way, I was experiencing why soldiers go back to war, even as the film transformed my anti-war ideas from an intellectual conviction to a gut-level certainty.
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David Dessel wears many hats. He has been a director, cameraman, editor and After Effects artist for a long time. Working out of his boutique company, Metaphor Pictures in Manhattan, he has worked in many capacities on a wide range of commercials, Webisodes, music videos, corporate videos and just about any other kind of production you can name. Recent projects include spots for National Geographic, a Webisode series for Vaseline and a major production for Dell.
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Approximately 450 Industrial Light & Magic (ILM) artists located in San Francisco and Singapore worked on “Rango,” the new Paramount Pictures/Nickelodeon animated film directed by Gore Verbinski. Each artist was on a workstation equipped with NVIDIA Quadro solutions, where they benefited from the speed of the graphics processing unit (GPU) when using animation tools such as Autodesk Maya, along with a range of ILM's in-house applications.
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