Issue link: https://digital.copcomm.com/i/100015
on such Roland Emmerich films as Independence Day and Stargate. STRENGTHS: ���After the editing of course, there���s the huge strength of being able to look at your film from a lot of different sides. I���m a believer in the theory that you make your film three times, and post is the place where you really do make it again... for the last time. It���s the time where you can re-evaluate all the footage and play with pacing and mood and all the other variables that can shade and alter that footage. Then there���s the whole visual effects side of post.��� WEAKNESSES: ���The weaknesses come hand in hand with all the strengths. So along with that advantage of being able to re-evaluate your film, you can sometimes get caught up in just tearing it apar t too much and over-analyzing every shot and scene to death. For me, that doesn���t exist in the shooting process, where it���s so fast and full of adrenaline, and you just have to make a decision instantly. But in post you can have too many options if you���re not careful.��� OPPORTUNITIES: ���I love the way you can now do all your 2K visual effects reviews with Skype sessions if you���re working with a company in, say London, like I did for Total Recall. That���s been a great process for me, because back when I did Die Hard this sort of system wasn���t even set up yet. So the new technology has really helped.��� THREATS: ���Time and budget are always the big enemy.��� OUTLOOK FOR 2013: ���It���s definitely more polarized than ever, in terms of these huge tent pole movies and then small-budget films at the other end. I realize I���m part of the bigbudget end, but it���s still a frustration.To be honest, would I have gotten Total Recall if my other movies had been far smaller budgets? Probably not. And it took me a three-year process to get there. I was trying to get other movies off the ground, which fell apart for various reasons. The fact is, it���s harder to get a $60 million movie made now than a $150 million.��� See the other 1,056,964,608 Colors You���ve Been Missing XVM-245W XVM-325W XVM-175W You Can���t Grade What You Can���t See. Most Broadcast and Professional Monitors are 8-bit displays. That means they can reproduce only 16.7 Million Colors. However, a 10 or 12 bit video camera captures at least 1.07 Billion Colors. So, when you edit or grade on an 8-bit monitor, you are only seeing a fraction of the possible colors contained in true 10/12-bit content . TVLogic���s 24��� true 10-bit XVM-245W has been regarded by many as the most accurate LCD monitor available. Now, we���ve introduced two NEW 10-bit additions to the family - the XVM-175W and XVM325W. With full HD (1920x1080) native resolution, high-purity RGB LED (XVM-175W/245W) and WideGamut EEFL (XVM-325W) backlight sytems, and integrated 3D LUTs - all three models in the XVM-Series are ideal for color critical applications yet retain all of the broadcast features found in our popular LVM Series. Add standard dual-link and 3G 4:4:4 input + support for import and export of popular color grading application LUT formats and TVLogic���s XVM-Series let���s you see ALL that you���ve been missing. 1-855-TVLOGIC (1-855-885-6442)��� sales@tvlogicusa.com��� www.tvlogicusa.com