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February 15, 2012, 11:50 pm
by Guillaume Choquette It's all about perception, at least according to this rendition. And speaking of renditions, the last image is of a visual effect being rendered, translating to "Editors actually sit and wait too often for the machine to complete the edit." True. There are other of these cartoons floating around - on producers...
April 24, 2012, 10:26 pm
Ken Lee, VP and my book editor at Michael Wiese Productions, informed that as of April 1, my first book, Cut by Cut: Editing Your Film or Video, will cease being printed. Published in December 2004, it had 7.5 years of active printing and will be available online, as most things new, old, and outdated...
April 18, 2012, 7:09 pm
My last post explained the 180 Degree rule. It also stated that crossing the line can disorient an audience and that directors film shots from both sides of the line. How does the editor cut from one side of the line to another and use the director's angles to tell the story without disorienting the audience?
April 13, 2012, 6:18 am
The slide show embedded in my last post that used examples from Hitchcock's Rear Window to so thoroughly cover continuity, discussed the 180 rule, a.k.a. crossing the line. Here's a clever, concise explanation in five short cuts (frames) from Paprika, an anime feature named for its red headed heroine, a young girl who is unclear...
April 6, 2012, 3:44 pm
continuity. Maintaining the physical relationships, performance, action, and narrative flow of the filmed scene from cut to cut (or during filming, from shot to shot). Maintaining continuity from cut to cut is part of an editor's job and entails, primarily, matching action (movement), screen direction, eyeline, camera angle and framing. Secondarily, editors match props, sound, [...]
March 24, 2012, 3:32 pm
This post completes my two-part series on "The Digital Dilemma 2," AMPAS's 135-page report on Indies (independent filmmakers) and the preservation of digital media. What Indies Say The report quotes them as stating: We need archives that make it easy for independent image makers to donate their work. And those archives need to have the...
March 17, 2012, 10:32 pm
In 2007, AMPAS (Academy of Motion Picture Arts and Sciences and bestower of the Academy awards), published "The Digital Dilemma" about the preservation of studio-made motion pictures. With "The Digital Dilemma 2" a three-year study released in 2011, AMPAS teamed with NDIIPP (the Library of Congress's National Digital Information Infrastructure and Preservation Program) to probe...
March 12, 2012, 9:48 am
Some shows exhibit effects so stunningly original that they ignite a creative revolution and make their designer the unsung auteur (author) of the film. Conversely, many effects go unheralded, such as wire removals (painting out wires used to make actors fly) and composites e.g. adding or subtracting buildings from landscapes but contribute mightily to the...
March 5, 2012, 3:49 pm
Visual effects are just another way of creating film for me to cut. We're used to having the film shot on the set, processed and sent to the editing room and that's it. In the visual effects world, that's just the beginning of making the shot. Instead of the shot being made in one day...
February 29, 2012, 4:34 pm
First, let's paint the current scene... Fact 1: Most picture editors these days work the video track on their systems to create visual effects, from routine dissolves and fades to green screens, split screens, and all kinds of motion effects. Fact 2: VFX are used to tell or enhance the story today...
Gordon Burkell sits down to discuss Selina MacArthur's Emmy nominated work on Black Mirror's USS Callister.
Gordon Burkell sits down with Beth Morgan to discuss the costume design for GLOW.
Gordon Burkell sits down with Tanya Swerling to discuss her work on the show GLOW.
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