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Meredith Day, MD3DA.com
Chooses Kino Flo® Lighting 2/10/10  R-L Tom Jacob, Sales, Kino Flo, Meredith Day, Founder, MD3DA,
Frieder Hochheim, Founder, Kino Flo 3d Pioneer, Inventor and Photographer Meredith Day has chosen to light her sets with Kino Flo® Lighting. "Kino Flo®" gives me my signature look without having to have a large crew," states Meredith Day. "I can quickly dial in, repositioning the lightweight lights with a minimum of effort. The low wattage, cool lamps allow me to shoot on sets that would othewise be too hot for the talent. Less generators mean I can afford more lights.  Production shot - Mindi Abair 3d Shoot -
"This was a very challenging shoot. I wanted to feature the grain of the natural wood. Kino Flo® allowed me to have twice the illumintion without increasing the room temperature or blowing the regular house fuses." Meredith Day To quote Frieder Hochheim, Kino Flo's visionary founder director, "You can never have too many lights!" "More important," says Day, "the Kino Flo® personell really want my shot to look awsome. They are available to help translate my vision in their technology. "It is a pleasure working with a company that is as passionate about my look as I am."  Final 3d shot - Mindi Abair 3d Shoot -
"I was so pleased to get all the texture of the wood so beautifully illuminated. The art is to not have the shot look Lit. Though the talent was really well illuminated, she never was uncomfortable. Saved us time in powder downs as well." Meredith Day  Mindi Abair 3d Shoot - Crew Shot From Right To Left: Front Row, Frieder Hochheim (Kino Flo), Mindi Abair, Meredith Day, Ed McClure. Top Row, Daniel Martins-Mende, David Martins Mende, Brian Ferguson  |
7/31/10 FILM REVIEW “Get Low" By Meredith Day  Tears and Applause, a Summer Suspense Movie to Remember! Based on a real life mystery, “Get Low” entangles you from the first moments on screen. It entwines you in the plot enigma, the lush cinematography and the consummate performances of Robert Duvall, Bill Murray, Sissy Spacek, Bill Cobbs, Gerald McRaney and Lucas Black. The mystery builds artfully with great precision as the story unfolds across a lovely midwestern landscape. The suspense prompted this viewer to creep farther and farther forward in the chair. The scenic design is so accurate and well drawn that the viewer feels he can reach out and touch the trees, feel the air and the flames on his face. Duvall’s fictional portrayal of real life recluse Felix “Bush” Breazeale is breathtaking. His control of Bush’s subtle physical anomalies are a work of art. Murray’s surprisingly introspective depiction of conman mortician Frank Quinn is perfection. He clearly telegraphs his silent thoughts by masterful nuances of expression. In contrast, the outward projection of Mattie Darrow by Sissy Spacek is a great counterpoint as her perspective morphs throughout the film due to the devastating reveals. Bill Cobbs character is so well depicted one is regretful he is a fictional character drawn so wonderfully onscreen. One wishes he lived next door. Gerald McRaney, so well known himself, is so enveloped by the Rev. Gus Horton’s persona it takes a minute to realize who it is under there. Lucas Black brings luscious youth at it’s finest to the screen as the innocent bystander forced into the fray. The applause through the tears in the theater at the end credits is a testament to this wonderful film. A must see for anyone who wants to imbed an incredible story beautifully told in one’s long term memory bank. “Get Low” will surely remain a diamond in the filmography of Zanuck Independent Films, K5 International, David Grundlach Productions, L.A.R.A. Enterprises, TVN and Butcher’s Run Films. Review Usage allowed: Unlimited press and Television Meredith Day Rep: Brian Ferguson 323.645.6910 brian@md3da.com www.md3da.com |
4/19/10 FILM REVIEW “How to Train Your Dragon" By Meredith Day  The 3d in Disney's "How To Train Your Dragon" is truly a work of 3d entertainment fine art. The story is wonderful for children of all ages. The characters are comprehensively crafted, both physically and emotionally. Humorous and charismatic. But the real Coup De Gras is the 3d animation. Not too big, not too small, just perfect. Deep and clear as a spring mountain pond. One must remember that there is no need to blur out the background in a 3d film. The viewer's eye takes care of that. One moment the eye is focused on the foreground, the next on the background. Purposefully blurring objects in 3d can cause the viewer vertigo. Too few art directors are aware of that dimensional rule. The dialects of the characters, though Vikings, are interestingly Scottish/Irish. A departure for sure but yet pleasant, fun. The particle generation of the facial hair and cloth, skin etc, is as fine as I've seen. My hat is off to Phil, "Captain 3d" McNally and his merry band of dimensional digital graphic rabble rousers. This movie is a must see for all ages. "Captain", you are truly a digital rock star! Also appreciated was the fact that the credits were not 3d against black!!!!!! Though immensely deep, I do not believe this finely crafted 3d film will cause headaches or nausea it is so well done. Go and savor! Meredith Day 3d World Report www.3dWorldReport.com mday3da@gmail.com |
2/05/010 FILM REVIEW “Alice In Wonderland" By Meredith Day  Click to Download PDF of Review Like good Shakespeare, “Alice In Wonderland” entertains on all levels. Tim Burton has truly outdone himself with AIW. Not only is all Burton’s poignant, traditional de rigueur present in this cacophony of dimensional eye candy, he has added additional elements to his well-known brand, cranking up his brightly dark humorous sparkle. This viewer found herself regretting not having more time to savor the wonderful character generation and development of each unique persona. Each one such a finely drawn work of art that one wished the film would pause to allow the viewer to fully inspect the unique element craftsmanship. Like a fairy tale, true to the original, with left and right hand turns, Burton’s scary is truly scary. Wading through moistly adhesive decapitated heads, the occasional eye gouged out. Alice and the White Queen are wonderfully bent Snow White-ian heroines on a dark sublandscape. One has to love to hate Helena Bonham Carter’s Red Queen. So perfect in her imperfectness. So expressive with a mere hiked eyebrow. It was also hard to tear away from Tweedledum and Tweedledee, the texture of their skin so flawless. For some reason the Bandersnatch brought to mind the “Emo” in Jim Carrey’s excellent, Grinch in this viewer’s mind. Johnny Depp’s Mad Hatter transcends all previous Depp roles. It leaves one wondering how someone of his insanely evolved level of craft has been so underappreciated by the Academy over the years. Is he able to be so consummate at leaving himself in the dressing-room because, frankly my dear, he doesn’t give a damn? While most actors are worried about their good angles and cellulite, Depp is able to, with complete abandon, deliver an earth shaking performance that can only be categorized as a finely conducted musical symphony of character development. As with the team of Depp and Burton, which came first the chicken or the egg? Or is it just the sum of the parts……. Etc. The saturated colors of AIW enhanced the dimensional art. So well filmed that you could reach out and touch the forehead of the Red Queen. Caress the fur coat of the White Rabbit hair by hair. Particle generation par excellence. Granted, there were some hitches in the 3d, Small flying characters moving too fast to be fully appreciated. Dimensional main titles and credits floated on black (why bother). Foreground objects not really in the dimensional pocket. That being said, there is so much to see in this extraordinary film that it begs for multiple viewings. We must appreciate that we are looking at a new evolution of a closely held, secretive, old art form. Burton is breaking new ground where old school 3d mavens didn’t even dream of going. There is no good operations manual on 3d. It is dial in as we go. Earn while you learn. The Zanuck Company, historic Hollywood royalty, is once again at the forefront, leading the pack. They are helping to lay the breadcrumbs from 2d into the brave new 3d universe for all else to follow. They make stunning choice of association after stunning choice. Both in content and talent, on both sides of the camera. If the mesmerizing trailers of “Clash Of The Titans” are any indication, their next event looks to be groundbreaking entertainment as well. Meredith Day 3d World Report www.3dWorldReport.com mday3da@gmail.com |
12/19/09 FILM REVIEW “Avatar” and “Christmas Carol” Sets New Dimensional Bar.  The feature film 3d hard technology In Avatar is undeniably a stunning step toward the true evolution of 2d films to 3d films as industry standard. The storyline has heart that brings to mind a mating of “Forrest Gump” and the original “Raiders of the Lost Ark. The special effects, lighting, scenic design, makeup and critter design in “Avatar” will be honored for generations similar to the art direction of “How Green Was My Valley” in 1942. Undeniably brilliant, Avatar’s dimensional art direction was not up to the quality of "Christmas Carol". The dimension is landlocked for the majority of the film from the screen backwards. Avatar has minimal forward dimensional projection which was dissappointing. Simple changes in the direction and camera moves would have "freed" the forward positioning, bringing it lushly forward into the theater. Just a matter of simple camera angle and move choices. Make decision A and the dimension is locked behind the screen. Make decision B and the dimensional movements through the fronds etc. would have escalated their forward positioning. “Christmas Carol”, by Robert Zemeckis, exhibited a much more evolved understanding of the basic rules of Dimensional placement and set design. It was a much more dynamic dimensional presentation. The Zemeckis team really pushed the forward dimension in an astute and playful ways. That made the Dimensional Art Direction absolutely groundbreaking. “Christmas Carol” has really set a high dimensional bar for all to aspire to. I came away from Avatar with an awareness that despite the light years the technology has come in 3d films in just the last few years, we are sorely lacking directors, directors of photography, and art directors who truly understand the core rules of the medium. These rules are completely different and sometimes backward from 2d. Most of the “Geezer Club” from the 50s who did have the knowledge, kept is close to chest and have passed away taking it with them. They did not share the wealth. The good news is that even with minimal forward dimension, Avatar is absolutely, stunningly, ground breaking film eye candy with a superb storyline. Both Avatar and Christmas Carol show the movement toward dimensional filmography as fine art. Thank you Robert Zemeckis and John Cameron! By Meredith Day Meredith Day Dimensional Animation www.md3da.com Contact: mday3da@gmail.com Avatar+Christmas+Carol+Review+12-18-09.doc 2 of 2 ABOUT MEREDITH DAY Meredith Day is the grandaughter of Hall of Fame Art Director Richard Day (Streetcar Named Desire, How Green Was My Valley, On the Waterfront). One of the few entertainment managers who has never been sued by an artist, Meredith Day is also a pioneer in the field of 3d animation. Day is referenced for her 3d camera designs in the 1980s in NY Times Bestseller “Mothers Of Invention” and subsequent “Patently Female”, both authored by Ethlie Ann Vare. Day was honored by Kodak at PMA in the early 1990s for her groundbreaking 3d Animated “Tresur Perfume” point of purchase lightbox image. Holding three patents on 3d animation cameras, Day’s images were commonly displayed in Tower Records on the Sunset Strip in the late 80s. These remarkably deep, clear animated images included large backlit promos for Jethro Tull, Chrissy Steele, Follow For Now and Animal Bag. Day worked from 1970 to 1985 as an art director and set designer for such photographic and film luminaries as Stan Freeberg, Dan Wolfe, Jim Wood, Marty Evans, George De Gennaro and Reid Miles. Day studied 3d Art Direction with Maestro Harvey Prever, a close family friend. Between 1985 and 1987 Day perfected and subsequently patented 3 versions of her 3d animation still cameras. Day was considered the pioneer, in the 80s, of back lit images in record stores around Southern California. Providing the record companies such as Sony, Capitol and Interscope with visually accurate, clear, color true, store displays. Day’s lightboxes replaced the hand painted large store displays which were not typically good representations of the album or 1 sheet art. Day has been a film and TV prototype consultant for Luminaries such as Stan Freeberg. Contact: mday3da@gmail.com |