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October 4, 2008, 5:47 pm
As the world turns to HD - the government mandate kicks in next year - we find that television post production pros are all over it, offering HD services to all comers. And on the front end, episodic producers have shown leadership, or at least intense curiosity, in acquiring on an HD format. Shows shooting on traditional 35mm or Super 16 have made the move to HD post production cycles that have proven to be stable and reliable...
September 26, 2008, 3:37 pm
Avid has "New Thinking," Final Cut Pro has "Editing Unleashed." Now, with the major release September 23 of its Creative Suite 4 Production Premium, Adobe’s watchword is "Product Intelligence." But is it change we can believe in? The short answer is a resounding (though early) yes, as Adobe representatives explained in a recent media conference call. The company is rolling out new full versions of After Effects, Premiere Pro, Photoshop Extended, Illustrator, Flash Professional, Soundbooth...
September 13, 2008, 3:05 pm
We’ve seen the remarkable ability of the RED ONE camera to draw crowds at conventions and to tease our imaginations with the promise of recording digital cinema quality 4K images (4096x2304) at half the price of high-end HD cameras. But amidst the buzz we haven’t seen much proof of its production on the big screen—until now. Digital cinema projects shot with the RED ONE are finally making their way through postproduction, answering whether digital systems can wrestle with these massive files.
September 12, 2008, 3:04 pm
Apparently, the truth is still out there. And Fringe, the new one-hour drama from Bad Robot Productions’ J.J. Abrams, Roberto Orci and Alex Kurtzman (Alias, Mission Impossible III, Star Trek) that premieres in September, is determined to find it. Or at least to garner good ratings trying.
September 3, 2008, 2:43 pm
Have you ever been on line at the store, lost in your own thoughts, when someone starts up a conversation that just won’t end? All you want to do is be alone, but Chatty Cathy or Carl won’t have it. Well imagine that happening everywhere you go, except with ghosts and a very crabby dentist, and that’s the basic premise for writer/director David Koepp’s Ghost Town.
September 3, 2008, 2:39 pm
The Holy Grail for digital restoration is definitely 4K. The Godfather and its indispensable sequel, The Godfather Part II, couldn't have been saved without it. Thanks to an assist from Steven Spielberg, who convinced Paramount Pictures to finance their full-digital restorations along with the re-mastering of The Godfather: Part III, the landmark Mafia saga arguably looks better than ever.
August 23, 2008, 2:27 pm
A featured part of the American Cinema Editors’ (ACE) EditFest held in Los Angeles August 8 and 9, was the second annual Prime Cuts event, co-hosted on Saturday morning at Hollywood’s Egyptian Theatre by ACE and the Academy of Television Arts and Sciences (ATAS). Introduced by Jason Rosenfield, A.C.E., co-governor (along with Stuart Bass, A.C.E.) of the Picture Editors Peer Group of ATAS, the panel once again brought together editors from across a wide spread of programming, including drama...
August 22, 2008, 2:25 pm
Ben Hershleder is an old friend from film school who now works as an Avid Certified Instructor and freelance editor. Ben's credits include two years at E Entertainment television editing such shows as "True Hollywood Story", "The Howard Stern Show", and "Celebrity Profile," among others. As a freelance editor, he's cut independent feature films and most recently an episode of the upcoming Fox series, "In Search Of," produced by Haxan Films (the guys who made The Blair Witch Project).
August 21, 2008, 2:22 pm
A Sunday morning may not have seemed the most appropriate time to screen the controversial film In the Cut . But a respectable (and not so respectable) crowd turned up at Sydney’s Chauvel Cinema on 23 November for the ASE screening, then adjourned upstairs to pry into the cutting process with editor Alexandre de Franceschi.
August 21, 2008, 2:21 pm
Ken Sallows ASE, recent winner of the IF award for Best Editing for Gettin’ Square, is back home in Melbourne before embarking on another feature film in January. He talks here with Trevor Holcomb (ASE Vic Committee) about his experiences cutting Gettin’ Square and Missing Tom.
Gordon sits down with Michelle Miller to discuss the makeup of PEN15
Gordon sits down with Tony Kearns to discuss editing Black Mirror: Bandersnatch.
Jim Flynn and Gordon sit down to discuss the editing of The Haunting of Hill House.
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