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July 29, 2020, 1:02 pm
When I bought the first edition of the VES Handbook of Visual Effects, which was released in 2010, it was for a pretty simple reason: nothing else out there had done the job of collecting a whole bunch of practical VFX information in one place. What’s more, a wide range of effects practitioners – those actually working in the field – were contributors.
July 23, 2020, 5:06 pm
In 2018, Sara Bennett explained the work of Milk Visual Effects on ADRIFT. She comes back today to tell us about her work as Overall VFX Supervisor on the Netflix movie, THE OLD GUARD...
July 22, 2020, 1:27 pm
Anyone familiar with the visual effects (VFX) and animation industries is well-aware that compute power is an essential part of the digital artistic process. Historically, studios had to fork over a serious chunk of change to purchase the machines needed to create, render and store content. The associated costs of this sizable investment made it difficult for studios to get started, and also forced them to make decisions about hardware without knowing what kind of projects it would be used for (and manage on-going maintenance costs).
July 21, 2020, 4:48 pm
Randall Balsmeyer has been working in visual effects for 40 years! He has worked on many films including GHOST, DEAD MAN, THE ADJUSTMENT BUREAU and BLACKKKANSMAN. He talks to us today about his new collaboration with director Spike Lee.
July 20, 2020, 4:39 pm
When setting up to shoot an interview for your video project, how do you decide where your subject’s eye line should be? I’m sure a majority of interviews you’ve seen feature subjects looking slightly off camera. Still, there are others that feature subjects looking directly into the lens.
July 18, 2020, 4:02 pm
Films such as Fantastic Voyage, Inner Space, Willow, Honey, I Shrunk the Kids, Hook, The Indian in the Cupboard and Ant-Man are all ones that have used different visual effects techniques to go small. These techniques have ranged from forced perspective, over-sized sets, shooting on blue or greenscreen and of course digital means.
July 17, 2020, 1:05 pm
This awards season, Pixar gets back to original storytelling with its first Black-led feature, “Soul” (November 20). Sony returns with “Connected” (October 23), another stylistic experiment from Oscar-winning producers Phil Lord and Chris Miller (“Spider-Man: Into the Spider-Verse”). Two-time Oscar nominee Tomm Moore tackles his third Irish folktale about saving the balance of nature with Cartoon Saloon’s “Wolfwalkers” (fall). And, with fall entry “Over the Moon,” a gorgeous update of the Chinese Moon Goddess fable, former Disney legend Glen Keane (Oscar-winning “Dear Basketball”) makes his directorial feature debut at Netflix.
Gordon Sits down with Arielle Kilker and David Nordstrom, the Supervising Editors of Netflix's hit documentary series Ch ...
Gordon sits down with Sam Ejnes, Re-Recording Mixer, and Pete Nichols, SFX Editor, who helped craft the sound for Mythic Ques ...
Kyle Gilman discusses the editing of Unbreakable Kimmy Schmidt: Kimmy Vs. The Reverend. This film is a "Pick your own ad ...
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