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November 21, 2015, 8:06 am
I am quite pleased—thrilled, actually—to announce that Victoria Nece has accepted a job at Adobe as “Product Manager for Visual Effects and Motion Graphics”. This job includes the primary responsibility of being product manager for After Effects and Character Animator. As a veteran professional user of After Effects, both as an animator and as a creator of extensions for After Effects, Victoria is perfectly suited to represent the needs of After Effects users and lead the development...
November 20, 2015, 2:36 pm
Adobe is excited to announce that we achieved the highest score of 100 in the CDP 2015 Global Climate Change Report. Once again, we join The Climate A List; this year, alongside 112 companies. Fifteen are technology peers from around the world, eight from the United States including Apple, Autodesk, Cisco, EMC, Google, Hewlett-Packard, Juniper Networks, and Microsoft. Companies that make The Climate A List score the highest in both performance and transparency. What’s promising about this...
November 20, 2015, 2:26 pm
I have neglected the blog (I have been neglecting a lot of things) and there are various reasons for it. One, I am preparing a little adventure I hope to soon share with you. Two, ideas for blog posts usually come from my daily activities. With a lot changing around me I have not been working on anything that I thought would be interesting to share, nor have I been asked questions which can be answered in a post. Three, and most importantly, there is already a large amount of valuable info...
November 20, 2015, 2:17 pm
SAN FRANCISCO — In this behind-the-scenes video, Mad Max: Fury Road re-recording mixer Matthew Ladarola provides insight into the sonic opportunities afforded by Dolby’s Atmos format (www.dolby.com/Atmos). Ladarola points to the film’s opening scene, where Max is being chased by a car that soars over his head. Using Dolby Atmos, he says, is “the best thing you can do, [to] transcend the space that you’re in, whether it’s your living room or theater, and it feels like you’re ...
November 19, 2015, 12:06 pm
We welcome back to the SuperMeet stage after a four year absence, three time Academy Award winning picture and sound editor, Walter Murch - for an engaging talk on "Moviola Metaphysics: Why we do what we do, why it's important, and how we can do it better."
October 16, 2015, 10:36 am
Director Danny Boyle filmed Steve Jobs in three different formats: 16mm, 35mm, and digital. That evolution of formats, Boyle says, is meant to show Jobs’ transformation from young computer rebel to the man behind the sleek and sexy Apple machines we know today.
October 13, 2015, 10:20 am
Fremont, CA - October 13, 2015 - Blackmagic Design today announced that numerous Blackmagic Design products, including digital film cameras, Fusion Studio visual effects and motion graphics software, DaVinci Resolve Studio color corrector and online editor and more, are being used to complete brand new and returning hit fall television shows.
October 7, 2015, 9:38 am
The graphic match (or “match cut”) is an extremely powerful transitional device in modern editing. Here, an idea is conveyed within a single assembly – a single cut. This cut’s intention is to skip forward or backward in time while a) maintaining a continuity of action and b) creating a metaphorical link between the images that bookend the cut. It can serve comedic, dramatic, or a purely ideological purpose. Let’s discuss the latter first as it represents the most original use of this cut.
Tom Cross and Gordon Burkell sit down to discuss the editing of Hostiles and how to work with footage to affect the pacing an ...
Gordon Burkell interviews Paul Machliss about timing and editing Baby Driver.
Gordon Burkell interviews Kenneth Branagh and Patrick Doyle about composing music and specifically composing the song Never F ...
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