Be a part of a unique online community that connects post production professionals and film academics worldwide.
You'll have access to personalize your news feed, access to Live Post Talks and much more. Contribute to the community by posting interesting post production content.
December 8, 2017, 6:59 am
A sound editor before he transitioned to picture editing, Dunkirk‘s Lee Smith has spent decades honing his ability to produce an elevated cinematic experience for the eye and for the ear. That immersive experience with sound has been critical for the two-time Oscar nominee when it’s come to the films of Christopher Nolan, one of those filmmakers who is keeping the process of shooting on film, as well as the theatrical experience of viewing films, alive.
December 5, 2017, 8:16 pm
By Amy Leland John Gilroy, ACE, comes from an impressive storytelling family. His father, Frank D. Gilroy, was a Pulitzer Prize-winning playwright, as well as a screenwriter and director for film and television. His older brother Tony is a screenwriter and director, known for films such as Michael Clayton and the Jason Bourne films. Continue reading → December 5, 2017 The post John Gilroy, ACE, on editing Roman J. Israel, Esq. appeared first on Randi Altman's postPerspective.
November 30, 2017, 10:33 am
There's a lot of creative power held in the hands of the film editor. In this post I round up some superb video essays that unpack some of the theoretical and practical ways you can wield that power for better storytelling results...
November 29, 2017, 6:27 pm
From his earliest beginnings at ILM to his current role as Senior Visual Effects Supervisor at Peter Jackson’s pioneering Weta Digital, four-time Oscar winner Joe Letteri has had the most accomplished of careers, witnessing the stunning evolution of visual effects over the course of three decades.
November 29, 2017, 2:44 am
Everything you need to know about Motion Graphics templates for Premiere Pro. We give you the low down on these new and exciting motion graphics files (.mogrt), what they are and how they'll benefit your productions.
November 25, 2017, 7:58 am
The makers of Blue Planet II used a normal television while editing the soundtrack of the programme because of concerns that viewers would complain about the narration not being audible.
November 25, 2017, 7:58 am
A sunny, hopeful yellow. An introspective turquoise. An arresting, violent red. When you see a color in a film, what you see is no accident — filmmakers carefully compose each frame and make color decisions that affect your experience of watching, even if you don’t realize it. Here are the ways in which filmmakers use color to deepen narrative.
Gordon Burkell sits down with William Hoy ACE to discuss editing War of the Planet of the Apes.
Gordon sits down with the directorial team of Christopher Radcliff and Lauren Wolkstein to discuss their first feature film & ...
Gordon sits down with Joe Walker to discuss editing Blade Runner 2049. Gordon and Joe have talked twice previously, first abo ...
Choose what Post News gets sent directly to your E-Mail, daily or weekly.
Get your post news on your favourite Apple device, when you want it where you want it.
Get your post news on your favourite Android device with the AOTG Android App.