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May 11, 2009, 1:27 pm
Amid the pre-Oscar festivities, the American Cinema Editors (ACE) held its ninth annual Invisible Art/Visible Artists Seminar with the Academy Award-nominated picture editors at the Egyptian Theatre in Hollywood. Moderated by Alan Heim, A.C.E., the seminar featured insightful conversation about their nominated films and their approach to editing.
May 2, 2009, 1:20 pm
If you ask someone about trends these days, it’s nearly impossible not to bring up the economy, since that is the root of most trends these days. "The industry is very black and white right now," says Soho Editors CEO David Gater. "You are either winning or you are out... there is no in between. This can be seen all across the industry; there is no room for mediocrity. If you are not at the top of your game there is no place for you. Shows are being cancelled, facilities are closing their...
April 27, 2009, 1:07 pm
On March 27, at a press and public ceremony presided over in part by George Lucas and Steven Spielberg, the new $175 million University of Southern California School of Cinematic Arts (SCA) officially dedicated the first two structures of what will be the largest institution on the USC campus when the six-building complex is completed in October 2010.
March 23, 2009, 12:34 pm
In late February, an overflow crowd made up largely of picture editors and assistant editors attended a presentation at the Editors Guild’s West Coast headquarters by London-based FilmLight Ltd., makers of the Baselight real-time color grading system. The purpose of the evening, which was presented by FilmLight’s US product manager Peter Postma, was to provide an overview of the Digital Intermediate (DI) and color science processes, the active role that editors can play in that process...
March 19, 2009, 12:30 pm
When Editor William Hoy, ACE, re-teamed with Director Zack Snyder for Watchmen, the two knew they were embarking on a project with challenges tougher even than those they faced on their previous outing, the epic 300. While that graphic-novel-based feature melded CGI, post-heavy speed changes and virtual camera moves, Watchmen would also have its share of digital set extensions, postproduction "camera effects" and CGI work. And it would have a very bizarre group of superheroes whose behavior...
March 12, 2009, 12:23 pm
With the release March 2 of software versions of Media Composer 3.5 and Symphony 3.5, Avid Technology, Inc. has announced an all-new open architecture that will ultimately facilitate a host of new workflows for file-based cameras, in addition to new Stereoscopic 3-D capabilities, better integration with ProTools and the long-awaited "death of the dongle key." The company has also taken the opportunity provided by this new release to add another group of new features and performance...
March 9, 2009, 12:21 pm
You feel as a viewer that you’re inside the movie," says Joyce Arrastia, describing the new, three-dimensional film Monsters vs. Aliens from DreamWorks Animation and Paramount Pictures, which she and Eric Dapkewicz edited. "Rather than feeling like the characters are popping out of the screen, you feel like you are sitting in their fantasy world."
March 9, 2009, 12:21 pm
Future Media Concepts thinks it has an idea. The national training center concentrates on prepping future and current users of digital media—the most popular classes covering, of course, the top NLE applications from Apple and Avid, but there’s more on many of the other products you’d imagine it’s useful to learn: Adobe Photoshop and After Effects, Autodesk 3ds Max and Maya, sound design, website design and development and more.
March 9, 2009, 12:20 pm
After Effects users have long asked for the ability to import and composite 3-D models directly inside of After Effects. Now, thanks to Photoshop Creative Suite 4’s more obvious 3-D layer capabilities, and After Effects CS4’s new support for these layers, importing 3-D models into AE is possible. But be warned, taking advantage of these new 3-D features comes with some fairly steep hardware requirements. In this article, we’ll take a look at these new 3-D capabilities and see what...
March 9, 2009, 12:19 pm
Michael Pedraza is a man with a plan. While attending film school in Arizona, he decided that he would work with one of his two favorite editors—Michael Kahn, A.C.E., or Dylan Tichenor, A.C.E. Happily, he had an "in" in that his editing teacher’s claim to fame was that he had worked in Kahn’s editing room on Saving Private Ryan.
Gordon sits down with Jinmo Yang to discuss the editing of Parasite, the hit Korean film and a must see for everyone.
Gordon sits down with Jeffrey Ford and Matthew Schmidt to discuss the editing of Endgame.
Gordon sits down with Spencer Averick to discuss editing "When They See Us" and his working relationship with Ava D ...
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