StudentFilmmakers Magazine Digital Edition | 2010, Vol. 5, No. 3

jodymichelle

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<p><a href="https://www.studentfilmmakers.com/store/product.php?productid=17834&cat=417&page=1" target="_blank"><img src="http://www.studentfilmmakers.com/news/images/magazine-covers/medium/vol-5-no-3.jpg" width="300" height="383" hspace="10" border="0" align="left"></a></p><p><font size="4" face="Arial, Helvetica, sans-serif"><strong><font color="#FF0000" size="6">student</font><font size="6">filmmakers</font> </strong> </font></p><p><strong><font size="3" face="Arial, Helvetica, sans-serif">2010, Vol. 5, No. 3 | The #1 Educational Resource for Film and Video Makers</font></strong></p><p><strong><font size="3" face="Arial, Helvetica, sans-serif"><a href="https://www.studentfilmmakers.com/store/product.php?productid=17834&cat=417&page=1" target="_blank">Digital Edition on sale now!</a></font></strong></p><p><font size="3" face="Arial, Helvetica, sans-serif"><strong>ON THE COVER:</strong></font></p><p><font size="3" face="Arial, Helvetica, sans-serif">Stereographic Project: An actor gets his face scanned by light sensors. The first step in the process of making him into a 3D character. Photo by Madeline Eberhard.</font></p><p><font size="3" face="Arial, Helvetica, sans-serif"><strong>COVER HEADLINES:</strong></font></p><p><font size="3" face="Arial, Helvetica, sans-serif"><strong>How To Make Actors into 3D Characters</strong></font></p><p><font size="3" face="Arial, Helvetica, sans-serif"><strong>RED ONE 3D</strong></font></p><p><font size="3" face="Arial, Helvetica, sans-serif"><strong>Florida State University Stereographic Project </strong></font></p><p><font size="3" face="Arial, Helvetica, sans-serif"><strong>Stop Worrying and Love 3D</strong></font></p><p><font size="3" face="Arial, Helvetica, sans-serif"><strong>Dispatch: A True Life Creative Collaboration</strong><br><em>Steven Sprung's Feature Film Directorial Debut</em></font></p><p><font size="3" face="Arial, Helvetica, sans-serif"><strong>PLUS:</strong></font></p><ul><li><font size="3" face="Arial, Helvetica, sans-serif">On-Set Convergence</font></li><li><font size="3" face="Arial, Helvetica, sans-serif">"What!?" ...And Other Bad Dialogue Writing</font></li><li><font size="3" face="Arial, Helvetica, sans-serif"> Shooting a Sitcom in One Day </font></li><li><font size="3" face="Arial, Helvetica, sans-serif">Clearing Music for Your Film</font></li><li><font size="3" face="Arial, Helvetica, sans-serif"> Financing Films via the Kickstarter Method</font></li></ul><p><font size="3" face="Arial, Helvetica, sans-serif"><strong>INSIDE PAGES</strong></font></p><p><font size="3" face="Arial, Helvetica, sans-serif"><strong>CINEMATOGRAPHY</strong></font></p><p><font size="3" face="Arial, Helvetica, sans-serif"><strong>The Close-Up Lens with a Split Personality</strong><br><em>Getting to Know the Split-Field Lens</em><br>by Ira Tiffen</font></p><p><font size="3" face="Arial, Helvetica, sans-serif"><strong>CLOSE UP</strong></font></p><p><font size="3" face="Arial, Helvetica, sans-serif"><strong>Dispatch: A True Life Creative Collaboration</strong><br><em>Award Winning Editor Steven Sprung’s Feature Film Directorial Debut</em><br>by Mary Ann Skweres</font></p><p><font size="3" face="Arial, Helvetica, sans-serif"><strong>3D</strong></font></p><p><font size="3" face="Arial, Helvetica, sans-serif"><strong>First, Beg for Two Cameras</strong><br><em>The Film Student’s Stereographic Starting Point for RED ONE Users</em><br>by Hali Gardella</font></p><p><font size="3" face="Arial, Helvetica, sans-serif"><strong>On-Set Convergence</strong><br>by Ian Johnson</font></p><p><font size="3" face="Arial, Helvetica, sans-serif"><strong>The Process Used to Make the Actors into 3D Characters</strong><br><em>Key Features for the 3D Film</em><br>by Evan Bollig , Ian Johnson, and Dr. Gordon Erlebacher</font></p><p><font size="3" face="Arial, Helvetica, sans-serif"><strong>How I Learned to Stop Worrying and Love 3D</strong><br><em>Here are the basics of what I used to establish a 3D workflow from production to post to presentation.</em><br>by William Donaruma</font></p><p><font size="3" face="Arial, Helvetica, sans-serif"><strong>SCREENWRITING</strong></font></p><p><font size="3" face="Arial, Helvetica, sans-serif"><strong>“What!?” …And Other Bad Dialogue Writing</strong><br><em>Includes a Before-and-After Scene Re-write</em><br>by Christopher Ball</font></p><p><font size="3" face="Arial, Helvetica, sans-serif"><strong>PRODUCTION</strong></font></p><p><font size="3" face="Arial, Helvetica, sans-serif"><strong>Shooting a Sitcom in One Day</strong><br><em>Here’s How We Did It</em><br>by Scott Essman</font></p><p><font size="3" face="Arial, Helvetica, sans-serif"><strong>ANIMATION</strong></font></p><p><font size="3" face="Arial, Helvetica, sans-serif"><strong>Create Highly Stylized, 2D Animated “South Park”-Like Cartoons</strong><br><em>8 Tips and 7 Steps for Getting Started</em><br>by Sherri Sheridan</font></p><p><font size="3" face="Arial, Helvetica, sans-serif"><strong>EDITING</strong></font></p><p><font size="3" face="Arial, Helvetica, sans-serif"><strong>The Power of Rubberbanding</strong><br><em>Reduce Your Render Time, Get a Better Sound Mix, and Avoid Losing Your Audio Smoothing</em><br>by Jeff Turboff</font></p><p><font size="3" face="Arial, Helvetica, sans-serif"><strong>MUSIC AND SOUND</strong></font></p><p><font size="3" face="Arial, Helvetica, sans-serif"><strong>Clearing Music for Your Film</strong><br><em>Negotiating the Rights Package; Library Music versus Original Scores</em><br>by Steven Ascher</font></p><p><font size="3" face="Arial, Helvetica, sans-serif"><strong>FILM BUSINESS</strong></font></p><p><font size="3" face="Arial, Helvetica, sans-serif"><strong>Financing Films via the Kickstarter Method</strong><br><em>The Crowdfunding Approach</em><br>by Larry Jaffee</font></p><p><font size="3" face="Arial, Helvetica, sans-serif"><strong>COMMENTARY</strong></font></p><p><font size="3" face="Arial, Helvetica, sans-serif"><strong>Bridge Work</strong><br><em>“Work done to pay the bills that allows you to the time to pursue your true passion and creative aspirations.”</em><br>by Tim Smith</font></p><p><font size="3" face="Arial, Helvetica, sans-serif"><strong>Shooting with the Canon HV20</strong></font></p><p><font size="3" face="Arial, Helvetica, sans-serif"><strong>Filmmakers Networking</strong></font></p><p><font size="3" face="Arial, Helvetica, sans-serif"><em>StudentFilmmakers Magazine selects and spotlights the following filmmakers in <a href="http://networking.studentfilmmakers.com/" target="_blank">The Film and Video Makers Networking Community</a>:</em></font></p><p><font size="3" face="Arial, Helvetica, sans-serif"><strong>Luis Villalon</strong><br>Director of Photography<br>Location: California, United States</font></p><p><font size="3" face="Arial, Helvetica, sans-serif"><strong>Wannithilake Mudiyanselage Suminda Weerasinghe</strong><br>Cinematographer<br>Location: Kotte, Sri Lanka</font></p><p><font size="3" face="Arial, Helvetica, sans-serif"><strong>Olivier Koos</strong><br>Director of Photography<br>Location: Luxembourg</font></p><p><font size="3" face="Arial, Helvetica, sans-serif"><strong>Giles Timms</strong><br>Director, Animator, Designer<br>Location: California, United States</font></p><p><font size="3" face="Arial, Helvetica, sans-serif"><strong>Also Inside:</strong></font></p><ul><li><font size="3" face="Arial, Helvetica, sans-serif">Featured Products and Serviecs</font></li><li><font size="3" face="Arial, Helvetica, sans-serif">Call for Entries </font></li><li><font size="3" face="Arial, Helvetica, sans-serif">Global Marketplace </font></li><li><font size="3" face="Arial, Helvetica, sans-serif">Featured Events</font></li></ul><br><br><font size="3" face="Arial, Helvetica, sans-serif"><strong>The Digital Edition is on sale now! <a href="https://www.studentfilmmakers.com/store/product.php?productid=17834&cat=417&page=1" target="_blank">Click here</a> to get a copy.</strong></font>
 
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