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Articles by Scott Fotheringham
Standing up for science
Janet Rossant is the president and scientific director of the Gairdner Foundation, which bestows the Canada Gairdner Awards. She is also a professor in Temerty Faculty of Medicine’s Department of Molecular Genetics, and the chief of research emeritus and senior scientist emeritus at The Hospital for Sick Children. Over the course of more than 50 years as a scientist, I’ve held many roles. One thing has never been clearer. Now, more than ever, we must stand up for science.
The Pain Issue
We flinch in anticipation — a squint, a grimace, a breath held tight. Sudden or slow. Lingering or fleeting. Pain is the body’s Red Alert — shaping how we move, live and heal. More than sensation, pain is a memory, biology, psychology. The stories in this issue trace the edges of pain — how we feel it, fight it and begin to understand it. And how science is moving us closer to lasting relief.
The Use of VFX to Stitch Birdman Together
“New developments in the science of motion picture photography are not abundant at this advanced stage of the game but periodically one is perfected to make this a greater art.” ~ Gregg Toland, 1941 in Theater Arts In 1941, cinematographer Gregg Toland approached Orson Welles, asking the director to let him shoot Citizen Kane.
Organic vs. Synthetic: Wally Pfister and Jess Hall Discuss the Making of Transcendence
Wally Pfister has a self-proclaimed love-hate relationship with technology, evident throughout his directing debut, Transcendence, which opens tomorrow. This ambivalence shows up in his choice of narrative, themes, locations and, most notably, in the fact that he shot the movie in 35 mm anamorphic and eschewed a DI for a photochemical finish. He and his hand-picked cinematographer, Jess Hall, joined moderator David Geffner on stage at NAB last week in Las Vegas to discuss the making of the movie.
Giant Screen Theater Owners Ponder the Case for Digital
Eighteen months ago, Charlotte Brohi and the Houston Museum of Natural Science (HMNS) had a big decision to make. Attendance at their IMAX 15/70 theater had been declining steadily from a high of more than one million visitors in 1991. With only 273,000 ticket buyers in 2011, Brohi, who is the VP of film, programming and distribution at the museum, knew they had to make a change. “Our contract with IMAX was ending,” Brohi explained.
Postproduction out of a Suitcase
When it comes to the production/post divide, what was black and white in the film era is now various shades of grey. That’s the way Chris Parker and Chris Jacobson of Bling Digital see it. The two were on hand at the HPA’s Post Pit at NAB 2013 to discuss portable post, or what they call “post-on-demand” (POD), a collection of services that runs through the digital image chain from camera, to DIT, color grading, finishing and archiving.
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