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April 23, 2019, 6:15 am
There is a playful exuberance to composer David Schwartz‘s work. PremiumBeat sat down with the man behind Arrested Development, Veep, and the The Good Place to talk about edgy, smart comedy — and why it’s important to score what’s not on the screen.
April 23, 2019, 6:14 am
One of the eternal rules in production and post production is that media will always expand to fill the space you allocate it + a bit more. There is always too much, and individual operators and small to medium post houses have tended to struggle on with NAS devices as they don’t have the room nor the budget for rack system storage.
April 19, 2019, 12:37 pm
Just like director David F. Sandberg, editor Michel Aller came into Shazam! from the horror genre. But as odd a transition as that may seem, going from editing films like The Nun and Annabelle: Creation to editing this year’s most joyful superhero movie was pretty seamless for Aller.
April 19, 2019, 5:46 am
A year or so back I took the plunge and invested in DaVinci Resolve Studio 15. Previously I had used FCP X with a smidgen of Adobe Premiere thrown in for compatibility with one of my clients. But I had usually used Resolve for correction and grading - well as far as what this non full time 'colourist' can class as grading at any rate. So it made sense with Resolve's ever increasing NLE abilities to gradually move over. Particularly as I was using it increasingly more.
April 18, 2019, 9:31 am
Spring is here, and it reminds me that, for Cinefex, every year is a bifurcated one. Roughly, the six-month period of April through September brings with it the release of many large-scale, effects-heavy movies – the kind of movies that are our raison d’être. In contrast, the six months between October and March offer up a very different – shall we say, ‘more serious’? – type of film, those in which Nicole Kidman’s fake nose piece in The Hours is the most effects-y thing on the menu. Those are the ‘What the heck are we going to cover?’ months for us – not always, of course (thank you, movie gods, for the Lord of the Rings trilogy, Interstellar and First Man) – but often.
April 17, 2019, 11:01 am
In 2018, John Likens explained to us the work of Method Studios on the opening and end titles sequences of DEADPOOL 2. He talks to us today about his work on the main title sequence of WARRIOR.
Gordon sits down with the Sound Design team (Just nominated for an Oscar) for A Quiet Place. Ethan Van der Ryn and Erik Aadah ...
Gordon sits down with Wyatt Smith to discuss the editing of Mary Poppins Returns and the challenges the film presented him in ...
Gordon sits down with Chayse Irvin to discuss his approach to shooting BlacKkKlansman and his theories about cinematography.
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