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August 14, 2010, 7:58 pm
Are you curious about the union? This blog is a continuation of my previous entry on how you get into the Motion Picture Editors Guild. I thought it would be a good idea to provide a little insight into getting into the union. What I didn’t realize is that it would devolve into an entire diatribe about the state of the Editors Guild in the larger Hollywood perspective. So I packed my first entry with information, and saved the rant for here.
August 14, 2010, 12:06 pm
There’s one woman in the world who understands Quentin Tarantino better than anybody, and that’s Sally Menke. Since her work on Reservoir Dogs, Menke has cut every single one of Tarantino’s films, and for the last decade, she’s eschewed almost all other jobs to devote herself solely to the genre-blending auteur. This Sunday, Menke will be receiving the Lifetime Achievement honor at the Hamilton Behind the Camera Awards, and as Inglourious Basterds begins its transformation from unexpected...
August 14, 2010, 12:05 pm
Last week Quentin Tarantino hosted a below-the-line panel in Los Angeles for the Oscar-nominated members of his Inglourious Basterds crew, including director of photography Robert Richardson, visual effects designer John Dykstra and editor Sally Menke. Following the panel, Cinematical was lucky enough to catch up with Menke via telephone to ask a few additional questions. In addition to discussing the process of putting together Basterds, Menke mused about the necessity for film language in...
August 13, 2010, 7:48 pm
One of the reasons my direct posting here has been light lately is that we’ve been working on a small documentary, partly for the exercise but mostly to a) have demo material for prEdit that isn’t 10 years old and b) prove to myself the prEdit is indeed a great new workflow for documentary editing. Plus a documentary gets made to store the memories of the early 60’s drag racing community.
August 13, 2010, 12:00 pm
Traditionally (can there be much tradition here yet?), this would be used in a DI process when not going out to film. This is becoming quite common now as theater deliveries are becoming increasingly digital. You want something that hits film’s final resolution of approximately 1.5K and does that very well without being hugely taxing on space and processing power. Currently Cineform and DNxHD are the only codecs I know if being used in this process (caveat: I don’t work in Hollywoodland, this is
August 13, 2010, 10:33 am
Last week Oasis Imagery had the grand opening for their new Post Production Facility. Oasis Imagery’s production retreat specializes in technologically advanced and cost-effective file-based workflows. With front-to-back expertise (from on-set services to distribution), Oasis (oasisimagery.com) is a one-stop new media studio with the capacity to accommodate all independent and studio needs. Services include 3D production and post production (with delivery for RealD, Dolby 3D and XpanD), 4K/2K/HD
August 13, 2010, 9:03 am
Red Giant Software Recently released Colorista II for color grading. In this tutorial Director Stu Maschwitz gives a general overview of Red Giant Software's Magic Bullet Colorista II
August 12, 2010, 5:22 pm
The final segment of my interview with engineer, inventor and entrepreneur, Bill Warner, the man who created Avid Technology. In this segment Bill talks about getting the initial investment, the period leading up to the launch of the company and how an encounter with some Apple employees at the SIGGRAPH show helped him and his team make a last minute decision to move development of the Media Composer to the Macintosh.
In this episode of The Cutting Room, we explain just where we have been for the past four months. We'll begin regularly ...
Joe Walker joins Gordon to discuss the editing of Denis Villeneuve's film Arrival. They focus on Time and manipulating t ...
Gordon sits down with Steven Rosenblum to discuss the editing of Birth of a Nation. They talk about lack of footage and how t ...
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