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July 17, 2009, 12:32 pm
I just recently finished compositing some shots for a live-action Disney DVD film (soon to come) involving talking animals. This is the first time that I’ve really done anything like that, and although I wasn’t editing, I could appreciate how difficult it can be to edit a film with animal actors as I saw the shots come in. And it’s difficult regardless of if they have moving mouths or not. Animals aren’t really "acting" on their free will as humans do, so discerning which take is the best has to with a mixture of the action being performed properly (pun intended) as well as juxtaposing the action with another action to convey an accurate sense of emotion, which 95% of animals (arguably) don’t naturally exhibit.
July 16, 2009, 4:23 pm
ARRI creates and manufactures the ARRIFLEX D21 digital cinema camera. The camera generates raw image sequences which can be recorded on to digital recording systems such as S.Two’s DFR system and Codex Digital’s field recorders. ARRIRAW files are saved to these devices, preserving the maximum fidelity of the image captured by the D21 cinematography camera. The ARRIRAW Toolkit allows MacOSX users to work with these ".ari" files natively in Final Cut Studio and any Quicktime enabled application.
July 16, 2009, 4:22 pm
Over the past few weeks I’ve found several great tutorials on using Avid & Boris FX together. Some of them have already been posted on PVC, some haven’t. I wanted to put them all together into one place. Media Composer ships with both Avid FX (a special Avid version of Boris Red) and Continuum Complete. When you put it together it makes for an extremely powerful compositing and FX solution.
July 14, 2009, 4:14 pm
Yesterday I shot a political spot with Simon Sommerfeld, a friend who saved the day after I pitched the concept for this no-budget spot to an agency that then said, "We’ll take it—make it as fast as you can for no money."
July 3, 2009, 3:54 pm
There was an interesting article this week in Daily Variety which was ostensibly about the American Cinema Editors pre-announcement of an award that they’ll be giving to Avid at their awards dinner in February (actually, I suppose I should say that we’ll be giving at our dinner, since as of June 2nd, I am now a member of ACE — you can leave your congratulations at the door). Variety takes the slant that...
June 27, 2009, 2:55 pm
In this post were going to talk about eye trace. I’ve been doing a lot of research on the subject lately. Here’s what I’ve come to realize. Eye trace is a simple concept to begin with, and if you think about it in your everyday editing it’ll improve so many little things.
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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