Film Values Issue : Creative COW Magazine
48 pages (5.8mb/print vers., 5.6mb/spread vers.)
Film Production Values Are Within Your Reach|
Top Film and Video Pros Share Their Secrets for Getting the Look
Creativity: An Investment In Us
Our teachers and mentors have given us insight and more
Acquiring Like Film: It's More Than 24fps
There is far more to getting the film look than some suppose
Building a Cinematic Composite
Getting the big screen look is sometimes placing the pieces
Don't Miss Your Shot!
A top cinematographer shares from his career observations
Film Style Shooting Using the Canon XL H1 Or: Building the Frankenstein Camera
An XL H1 that you will never forget
& much more...
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Articles in this Issue
|Looking for film look? Shoot like film!|
Film look software will never offer the same impact on your work that film-style shooting will. Software will also always take longer than shooting right the first time. Longtime film shooter Kim Segel shows you the tools and techniques to maximize film looks, even on paupers budgets.
Tutorial, Feature 03/04/2008
Author: Kim Segel
Adobe After Effects|
|Cineon Files: What They Are, and How To Work With Them|
Expert film compositor Pete OConnell takes you through the world of Cineon files, including exactly what they are, how they work, and how to work with them in Adobe After Effects. If you work with film files or want to, you need to read this article.
High Bandwidth/Large File Warning: Due to the fact that this article deals with film images, the image sizes are large and this article contains 32MB of images in the HTML file.
Tutorial, Feature 12/27/2007
Author: Pete O'Connell
|Film-Style Shooting with the Canon XL H1|
Interchangeable lenses and powerful, accessible controls make the Canon XL H1 the choice at Fantastic Plastic. In this Creative COW Magazine prosumer hd digital video camera review, Todd Terry discusses the real world pros and cons of the Canon XL H1.
Review, Feature 10/27/2007
Author: Todd Terry
Adobe After Effects|
|Building Cinematic Composites: A Creative COW Magazine Extra|
Building cinematic composites takes more than software. It takes careful planning, understanding the drama in every shot, and a sense of magic. In this Creative COW Magazine extra, we share our conversation with director Mark Allen, discussing his short film, Least Likely, a 60-second science fiction epic. We've got the film here, along with some HD images from it. Prepare to be amazed.
Feature, People / Interview 10/24/2007
Author: Mark Allen
|Don't Miss Your Shot|
How making friends with trash cans and other objects can improve your career. In a conversation with highly respected cinematographer Todd McMullen (Casino, The Green Mile), he talks about how to break into Hollywood, and what it takes to be successful once you get there.
Feature, Business 10/18/2007
Author: Todd McMullen
|Alternate HDV Workflows Using HDMI|
Diggint out of a common video production sandtrap with HDMI - In this day and age where time is money, I've found a fast, affordable, all-digital alternative to native HDV workflows, featuring the somewhat clandestine and covert HDMI connection.
Author: Michael Palmer
Adobe After Effects Techniques|
|The Importance of Monitor Calibration|
In this article from The Creative COW Magazine, Bob Zelin discusses the imporance of monitor calibration, different monitor options and how to execute the calibration on these monitors.
Editorial, Tutorial 10/10/2007
Author: Bob Zelin
TV & Movie Appreciation|
|Playing Your Role in a Working Film Crew|
For years, I've known David McGiffert as an FCP user making his own documentaries. But I had no idea that he had over 40 Hollywood features under his belt until I saw his name in the credits for 'An Officer and a Gentleman.' He wouldn't tell me any of these stories. He finally broke his silence and gives Creative COW readers the story.
People / Interview 10/10/2007
Author: David McGiffert
Writers in this Issue