Frank Miller’s Sin City represents a new breed of digital filmmaking. It’s a practical example of what the 4:4:4 HD filmmaking revolution is about and its creation is a demonstration of the workflow that filmmakers use to create digital films of striking image quality. […]
The ‘Cinderella Man’ editorial crew all demonstrate a synchronization of minds as smooth as the high-tech machinery in front of them. […]
Technologically, this is a movie of many firsts. […]
One of the joys of working in theatrical professions is the episodic nature one’s life can take, Editor Jay Rabinowitz, ACE, is one who has had this experience in spades. […]
Harry must grapple with a giant, fire-breathing Hungarian Horntail dragon and battle underwater demons in the Black Lake. Post-production was no less daunting. […]
Steve Mirkovich and Allen Daviau talk about problems with previews and video dailies, the longevity of 35mm film, changes in editorial styles and more.
“Sound has been a very important element in my work. Consequently, it’s something I’ve always paid a lot of attention to.” – Robert Altman […]
“Brando’s voice and presence serve as a memory bridge back to that time.” – Craig Berkey supervising sound editor/sound designer […]
‘Superman Returns’ is a heroic feat in digital filmmaking. […]
CineMontage spoke with Richard Chew as he was putting the finishing touches on ‘Bobby.’ […]
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