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April 18, 2018, 12:58 pm
Last time, in our look at learning DaVinci Resolve, we talked about the basics of importing footage into your Media Pool. In the next three articles, I want to look at bringing in footage from the three major NLE’s, Avid Media Composer, Adobe Premiere Pro and Final Cut Pro X, as this is one of the more common workflows, as editors more more and more towards doing their color correcting in Resolve. Let’s get started by looking at getting your footage out of Media Composer and into Resolve.
April 18, 2018, 10:01 am
Today Western Digital Corporation (WDC) introduced its highest capacity conventional magnetic recording (CMR) HDD with the Ultrastar DC HC520. The HC520 comes in capacities up to 14TB introducing a new, lower level of TCO for the cloud and enterprise guys. The new drive leverages WD’s fifth-generation HelioSeal technology to help deliver density, and better power usage per TB, and price per TB.
April 18, 2018, 5:29 am
We’ve picked out a variety of amazing free projects including simple logo reveals, beautiful photo slideshows, corporate promotions and kinetic text – all in glorious high definition. So, if you’re in a pinch and need a bespoke video sequence, pronto! – save our list of 10 totally free After Effects templates.
April 18, 2018, 4:31 am
The week before NAB 2018, Apple announced a new version of Final Cut Pro X with support for closed captions, and the brand new ProRes RAW codec. In the announcement, Atomos and DJI were listed as the first two companies to support capture of the ProRes RAW codec. In the first of the video presentations from the Faster Together stage at NAB, Jeromy Young debuts ProRes RAW.
April 18, 2018, 4:30 am
Sound And Picture has published an interview with Richard Ludlow (Audio Directory/Owner at Hexany Audio) in which he gives insights on approaching sound and music for new emerging interactive media platforms like Amazon Alexa. You can read the full article here.
April 18, 2018, 4:30 am
There have been very few attempts at hero suites in the film industry. The most notable have been SGO's Mistika and Quantel's Rio. Neither have ever been particularly accessible to independent filmmakers, primarily due to their price tags. Mistika, until very recently, was available either as a single-shot compositor in the form of MambaFX or as part of a turn-key workstation with starting prices in the six-figure range. Rio's pricing was similar.
Gordon Burkell sits down with Tristan Oliver to discuss his work on Isle of Dogs for Wes Anderson.
Gordon Burkell sits down with Joe Letteri to discuss his Oscar-nominated work on War for the Planet of the Apes.
Gordon Burkell sits down with Nathan Robitaille and Nelson Ferreira to discuss the sound design of The Shape of Water, for wh ...
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