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November 9, 2010, 11:05 am
The high-definition Blu-ray format was made for the epic grandeur of filmmaker David Lean. Up until the November 2 release of The Bridge on the River Kwai (Sony Home Entertainment), though, we only had his final film, A Passage to India (1984), to relish in HD. But, thanks to the recent restoration by Sony's Colorworks, the Oscar-winning Kwai (1957) can finally be viewed in its proper CinemaScope aspect ratio, and has never looked as crisp and colorful. Indeed, among other things, the...
November 9, 2010, 11:04 am
can clearly remember my first experience with Adobe Premiere. It was in the early 1990’s, and I was working full-time in the News Department at Wisconsin Public Television. I had managed to talk the news director into buying me a really new-fangled device – a desktop computer. I believe it was a first-generation Pentium, maybe 90Mhz. I had been into computers since about 1984, and had composed music and scored a lot of TV programs using Atari computers. Geekery was in my blood.
November 9, 2010, 11:03 am
I recently had a fellow motion graphics artist asked me what format used a 50.94 fps frame rate, as a client had requested delivery at this rate. 50.94 is obviously a typo based on 59.94 fps (the field rate for NTSC, and the North American speed favored for some HD media such as 720p for sports and news). But a quick Google search turned it up in multiple places where people should know better. For example, I found it in...
November 8, 2010, 4:17 pm
Firstly, a big thanks to Oli Kember who inspired me to do Post Production week. For all that I know a lot about DSLRs now, I know way way way more about editing, I’ve been in the trenches ripping my hair out fixing stuff and hating every second of it... it can really kill you sometimes. So, I’ve set all this up with a promise to shed some light on the unsexy side of filmmaking. Shallow DOF can reduce grown men to tears...
November 8, 2010, 11:03 am
Something I hear over and over in conversations about DSLRs, particularly with photographers, is that people know bugger all about editing. I don’t care how gorgeous your footage is, and I’ve taken flak for saying this on Twitter, but videos, unlike photos, take place over time, and as a result, your skill as a filmmaker is about how you repay people for the time they elect to give you. Never, ever, forget that. This is why editors wield so much power.
November 8, 2010, 11:02 am
This probably isn’t the usual article on a piece of non-linear editing software. There will be no discussion of professional workflows and how it’s used to create broadcast television or feature films. But rather it’s a discussion of how a modest beginning, dabbling with a new piece of software and one of its signature features has grown into more than just a passing curiosity.
November 8, 2010, 10:51 am
I am always on the lookout for things that can make my life easier... sleep in a can, comfortable shoes, great software. If you use Final Cut Pro and After Effects... do I have a find for you! I just finished a new book called Video Made on a Mac, and in the process of writing about Motion Graphics workflows, I’ve discovered an absolute gem, from a little place called Popcorn Island.
November 7, 2010, 10:20 pm
When Matrox first brought us the MXO2, I was so impressed I ended up with one in my edit suite.
November 7, 2010, 10:17 pm
Bill Warner is the man who had the vision, he's the man who made this happen. In this, the third episode of a five part series, Bill explains the frustration he felt at the linear editing process in a tape-based world and how he, turned this frustration to find a solution to the problem. As a result the world of editing has never been the same. Where once tape-based suites and film cutting rooms dominated, now the electronic non-linear way has become the accepted process.
November 7, 2010, 10:15 pm
Presentation by Deepraj Sandhar. Using the Number 1 hit music video "Riverside" by Sidney Samson, edited on Media Composer, this demonstration shows the editing and effects work done for the music video. Also to be discussed is the new File Based workflows in Media Composer 5 using native RED, Canon 5D and Pro Res. Working on FCP? Bring your FCP project and Pro Res media in to Media Composer 5. An overview of workflow and features provided by Avid Media Composer 5.
Gordon Burkell sits down to discuss Selina MacArthur's Emmy nominated work on Black Mirror's USS Callister.
Gordon Burkell sits down with Beth Morgan to discuss the costume design for GLOW.
Gordon Burkell sits down with Tanya Swerling to discuss her work on the show GLOW.
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