Last year at Sundance, Adobe VP Jim Guerard was making the further case for Flash. At that time the installed base was enormous, but Guerard had something even bigger in mind. He described how the nonlinear potential for Flash was virtually untapped, that people still understood it as player rather than a whole new way to think about content and interactivity.

Since then, the Flash train has rushed forward, powered in part by its use on YouTube and other hugely popular sites. Overall there‘s no doubt that internet video has made significant gains since this time last year. But still, Flash still has more to offer if Guerard‘s ultimate concept is to be realized. Towards that end, Adobe is actively teaching Flash 8 to filmmakers here at New Frontier on Main (the can‘t-miss session is tomorrow–Wednesday–at 2pm when Flash developer Justin Everett-Church covers how to “Expand Filmmaking Options with interactive Flash Video,”). more

“We knew we would have to do a DI from the get go,” says Padre Nuestro DP Igor Martinovic, “Time and finances were not on our side and we were using a lot of available light.” Joe Beirne describes how in addition to doing a DI process to a 4:4:4 scan of Martinovic’s film footage (see previous post), Postworks also developed an end to end dailies to offiline Avid DNX post process at 10 bit 115mbps (which Beirne says he will try at the more efficient DNX 36mbps that Avid is soon to release).

(If you want to hear Beirne, Matt Feury from Avid and representatives from Arri–the film was shot on Super 35–talk about the workflow drop by NY Lounge.) more

NY post facility Postworks touched a lot films at Sundance–in some cases in an instrumental way. Just ask Alex Vlack and Andrew Zuckerman who appear in the NY Lounge as if on cue to rave about their screening and how pristine their short High Falls looked. “We wouldn’t be here without Joe,” they say, and it’s not a plug. They talk about the other films and how soft their prints looked, how people were complaining about 3:2 pulldown (”which we didn’t have to worry about) and how if the other filmmakers had been fortunate enough to have a professional finish and filmout their films would have looked just as good. They’re trying to be generous but you can tell they’re so pleased to be rising above the competition with their Varicam-shot film. more

Black Snake Moan Director Craig Brewer

To watch our YouTube slideshow for the Craig Brewer interview, click here.

Black Snake Moan Editor Billy Fox

To listen to the Billy Fox podcast interview click here.

(To download, right click, “Save Target As”)

Fotokem’s Walter Vopatto on Black Snake Moan Postproduction

To listen to the Walter Vopatto podcast interview click here.

(To download: right click, “Save Target As”)

Check out our entire Sundance Podcast Archive.

Black Snake Moan Director Craig Brewer

To watch our YouTube slideshow for the Craig Brewer interview, click here.

Black Snake Moan Editor Billy Fox

To listen to the Billy Fox podcast interview click here.

(To download, right click, “Save Target As”)

Fotokem’s Walter Vopatto on Black Snake Moan Postproduction

To listen to the Walter Vopatto podcast interview click here.

(To download: right click, “Save Target As”)

Check out our entire Sundance Podcast Archive.