Taylor Wigton's G1/A1 article now online at DVinfo.net

Denise Haskew · February 15th, 2007, 10:58 AM

Also...

An exclusive interview with director David Fincher about his decision to go data all the way on his latest two movies is only one of over two dozen new articles to go live today on the Showreel website (www.showreel.org/memberarea). The soon-to-be released movie Zodiac and his in-production project The Secret Life of Benjamin Button were both shot on the Grass Valley Viper, with film and videotape eliminated completely from the process.

New FREEVIEW articles include Taylor Wigton’s comprehensive test of the new Canon HDV cameras, the XH A1 and XH G1, as well as Phil Rhodes’ test of the JVC HD250/251 camera, which sits at the top of JVC’s HDV range. Also in the FREEVIEW section is Philip Richardson’s article about using Final Cut Pro and Final Touch for a low-budget full 2K digital intermediate, going both from and to 35mm. David Valentine’s interview with Darren Aronofsky, director of Pi, Requiem for a Dream and recent sci-fi epic The Fountain is also now FREEVIEW. These join other FREEVIEW articles that include the first part of Geoff Boyle’s diary of shooting Mutant Chronicles, Simon Wyndham’s test of the Sony V1 HDV camera, our full test of Avid Media Composer software-only version, and Rodney Charters’ and Taylor Wigton’s test of 1/3in chip cameras on the set of 24.

Member articles

New articles for members include not only the David Fincher interview, but also our recent series of articles on 2K and 4K on-set workflows:

• Scott Lehane explains the implications of moving up from HD to 2K 4:4:4;
• DIT George C Palmer outlines the Grass Valley Viper workflow;
• Rodney Charters ASC, DP of 24, details the workflow of the Panavision Genesis;
• BSC president Gavin Finney explains the Arri D-20 workflow;
• DP Jason Rodriguez lays out the history and workflow of the Silicon Imaging SI-2K;
• Scott Lehane looks at RedOne and Dalsa Origin 4K workflows.

Other new articles include:

• Taylor Wigton on cine lens adaptors and tutorial on using the Red Rock Micro M2;
• Part 3 of our coverage of Alto Film’s Credo: into post with Quantel’s iQ;
• Mark Lewis on the DI used to take Shane Meadows’ This is England from 16mm to 35mm;
• Simon Wyndham’s test of Sony Vegas 7:
• Pt 2 of Mutant Chronicles: using the Phantom HD and SI-2K cameras;
• David Valentine interviews Mattes and Miniatures’ Leigh Took about miniatures and HD;
• Editor Sean Barton, whose credits include Quadrophenia and Return of the Jedi, explains how he made the switch to Final Cut Pro for Mutant Chronicles;
• John Lashley’s test of Pixel Farm’s PFClean;
• Dado Valentic’s group test of GUI-based graders;
• Geoff Boyle’s round-up of on-set grading systems;
• Chris Goff’s test of Lightwave 9;
• John Lashley’s test of Gridiron’s Nucleo Pro background renderer for Adobe After Effects;
• Miguel d’Oliveira’s test of Steinberg’s Cubase 4;
• Geoff Boyle’s take on the Sony F900R;
• plus various other projects, tests and rants.

For information on future content, visit www.showreel.org/currentissue.php and www.showreel.org/nextissue.php

The Showreel website features past and current articles from Showreel magazine. Some of the articles on the site are FREEVIEW, with others accessible by members only. Membership costs just $20 for 12 months’ access.

Phew!

Denise

February 15th, 2007, 10:58 AM	#1
Denise Haskew Showreel Magazine UK Join Date: Aug 2004 Location: Brighton, UK Posts: 41	Taylor Wigton's G1/A1 article now online Also... An exclusive interview with director David Fincher about his decision to go data all the way on his latest two movies is only one of over two dozen new articles to go live today on the Showreel website (www.showreel.org/memberarea). The soon-to-be released movie Zodiac and his in-production project The Secret Life of Benjamin Button were both shot on the Grass Valley Viper, with film and videotape eliminated completely from the process. New FREEVIEW articles include Taylor Wigton’s comprehensive test of the new Canon HDV cameras, the XH A1 and XH G1, as well as Phil Rhodes’ test of the JVC HD250/251 camera, which sits at the top of JVC’s HDV range. Also in the FREEVIEW section is Philip Richardson’s article about using Final Cut Pro and Final Touch for a low-budget full 2K digital intermediate, going both from and to 35mm. David Valentine’s interview with Darren Aronofsky, director of Pi, Requiem for a Dream and recent sci-fi epic The Fountain is also now FREEVIEW. These join other FREEVIEW articles that include the first part of Geoff Boyle’s diary of shooting Mutant Chronicles, Simon Wyndham’s test of the Sony V1 HDV camera, our full test of Avid Media Composer software-only version, and Rodney Charters’ and Taylor Wigton’s test of 1/3in chip cameras on the set of 24. Member articles New articles for members include not only the David Fincher interview, but also our recent series of articles on 2K and 4K on-set workflows: • Scott Lehane explains the implications of moving up from HD to 2K 4:4:4; • DIT George C Palmer outlines the Grass Valley Viper workflow; • Rodney Charters ASC, DP of 24, details the workflow of the Panavision Genesis; • BSC president Gavin Finney explains the Arri D-20 workflow; • DP Jason Rodriguez lays out the history and workflow of the Silicon Imaging SI-2K; • Scott Lehane looks at RedOne and Dalsa Origin 4K workflows. Other new articles include: • Taylor Wigton on cine lens adaptors and tutorial on using the Red Rock Micro M2; • Part 3 of our coverage of Alto Film’s Credo: into post with Quantel’s iQ; • Mark Lewis on the DI used to take Shane Meadows’ This is England from 16mm to 35mm; • Simon Wyndham’s test of Sony Vegas 7: • Pt 2 of Mutant Chronicles: using the Phantom HD and SI-2K cameras; • David Valentine interviews Mattes and Miniatures’ Leigh Took about miniatures and HD; • Editor Sean Barton, whose credits include Quadrophenia and Return of the Jedi, explains how he made the switch to Final Cut Pro for Mutant Chronicles; • John Lashley’s test of Pixel Farm’s PFClean; • Dado Valentic’s group test of GUI-based graders; • Geoff Boyle’s round-up of on-set grading systems; • Chris Goff’s test of Lightwave 9; • John Lashley’s test of Gridiron’s Nucleo Pro background renderer for Adobe After Effects; • Miguel d’Oliveira’s test of Steinberg’s Cubase 4; • Geoff Boyle’s take on the Sony F900R; • plus various other projects, tests and rants. For information on future content, visit www.showreel.org/currentissue.php and www.showreel.org/nextissue.php The Showreel website features past and current articles from Showreel magazine. Some of the articles on the site are FREEVIEW, with others accessible by members only. Membership costs just $20 for 12 months’ access. Phew! Denise