24th November, 2005
How On Sight conjured up a few moves of its own when it put together Ocelot Productions' compendium of trendy tricks - The Book of Cool.
Ocelot Productions producer/director Fred Rees had been planning this project since early in 2004. ”The book of cool was a concept that grew out of an idea to make a football skills video, but I wanted to spread the net much wider than football by tracking down some of the coolest tricks on the planet and get some of the best in the world to give us a masterclass,” says Rees.
03rd April, 2005
Jim Henson's Mirrormask, the innovative debut feature film of Dave McKean, is the first film in this country to output onto the new HDCAM SR format.
"As the film's producer, it was important for me, using a brand new technology, that not only could On Sight supply the equipment we needed, but, more importantly, they understood how it worked - and as a bonus, provided a service that alway came with a smile." - Simon Moorhead, producer, Mirrormask
14th February, 2005
Cutting edge technology was instrumental in creating the right look for a film on the steel industry.
Given that the assignment involved making a short film about British Asian steel millionaire Lakshmi Mittal, the richest man in Britain, you might assume that Connected Pictures would have gone for film - the most expensive format. but producer Adam Penny had a different aim: "We wanted it to be made using cutting edge technology because Mittal is at the forefront of the steel industry."
12th February, 2005
An altogether bigger show handled at On Sight's HD Lab is Gerry Anderson's New Captain Scarlet, an all new 26-part CGI programme with new scripts, characters and stories.
The show, produced by Anderson Entertainment for broadcast in February 2005, has kept a 130-strong production team busy at Pinewood, with four teams including animators and TDs taking eight weeks to complete each 22 minute episode.
04th February, 2005
Andrea Vecchiato is one of a pioneering new breed of film directors making the most of the creative potential of HD production.
Filmmakers have often been sniffy abouot the use of new formats such as HD over 35mm film, but for director Andrea Vecchiato has a message for them. "They should not be so lazy," he declares. "In fact, it upsets me when I talk to DoPs who think that 35mm film will always be better."