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 4, 2018, 6:03 am
Over the years, I have blogged several times about Walter Murch (see links below) whose work as a sound designer and film editor is notable in such movies as Julia, Apocalypse Now, Ghost, The English Patient, and The Talented Mr. Ripley. In my view, Murch has written one of the best screenwriting books — “The Blink of an Eye” — only it’s not about screenwriting, but rather film editing. However since screenwriting is so much about scene construction, perspective, and transitions between scenes, I find Murch’s insights profoundly beneficial to our craft.
August 13, 2017, 4:08 pm
Adobe delivered one of the most impressive papers at this year's SIGGRAPH technical papers. The essence of the paper is to build on previous research to provide Stylized Facial Animations based off an arbitrary example style, such as a painting. This paper is the basis of Jakub Fišer PhD at the Czech Technical University in Prague. This work is so impressive, it seems almost like magic, but in reality their clever solution takes advantage of some special aspects of faces, some core Adobe Photoshop tech and the previously published research that the team has been working on for some time.
August 2, 2017, 9:12 am
When I was twelve years old—bear with me, this will get relevant soon—I and a number of friends and relatives went to see The Addams Family at a well-appointed movie theater in San Diego. I had already seen the movie once, but with compromises being what they are this was the only movie everyone could agree to see and so I agreed, having liked it the first time, to see it again. Before the trailers started, a friend of my dad’s who was a writer and wore leather jackets and was cool, turned to me and asked me how I’d liked the picture the first time, and added that I must have liked it if I was agreeable to see it again. “It’s fun,” I said. But because I wanted him to think I was smart—cool was a bridge too far; this was, after all, a man who owned more than one leather jacket and whose girlfriend was blonde and rather hyperbolic in appearance—I added “But the plot’s kind of stupid.” Soon the lights went down, the movie commenced, and was fun (again). And my dad’s cool writer friend turned to me approvingly and said, “That was fun. And you were right about the plot.” And I felt smart. And almost cool.
May 18, 2017, 5:04 am
Is it really accurate to talk about production when the theme is TV? For production, it smells of fixed procedures, known milestones, and defined requirements - while TV is being developed according to a plan that is constantly changing as one learns from its TV production.
Gordon sits down with Wade Barnett(Supervising Sound Editor) and David Barbee (Sound Designer) to discuss their work on Amazo ...
Gordon sits down with Shawn Paper to discuss Crashing, editing, and the new film The Broken Hearts Gallery.
Gordon Sits down with Arielle Kilker and David Nordstrom, the Supervising Editors of Netflix's hit documentary series Ch ...
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.