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February 17, 2012, 8:34 am
This tool takes an EDL as input (paste it in), and converts it to Avid DS Subtitle format, which is one of the two formats you can supply to Avid’s SubCap effect. Once you paste your EDL into the input field, you’ll be presented with options to exclude certain locator colors, or to add a...
March 17, 2018, 6:13 am
Managing VFX is a daunting subject and a big task, even for smaller films. It's also a difficult workflow to try to describe generically, but after many years of requests for a writeup on the job of a VFX Editor, I decided to give it a shot. Here goes...
October 17, 2016, 5:52 am
This tool takes an EDL as input (paste it in), and converts it to Avid DS Subtitle format, which is one of the two formats you can supply to Avid’s SubCap effect. Once you paste your EDL into the input field, you’ll be presented with options to exclude certain locator colors, or to add a ...
March 27, 2014, 7:45 am
I had written a whole post on turnovers, but quickly found that it went out of date. So here's my attempt to write a more future-proof guide to getting the materials of your film turned over to all the various departments that editors and assistant editors interact with.
August 5, 2013, 6:41 pm
On Star Trek Into Darkness, we put a lot of effort into creating and maintaining a running 5.1 temp mix inside Media Composer. This article gives you an in-depth look at the process, both technically and creatively, and the challenges we solved along the way.
April 2, 2013, 12:48 pm
On Star Trek Into Darkness I had the opportunity to break out of my usual Assistant Editor responsibilities and tackle a new experiment in temp sound editing. This is one of the tricks I learned about cleaning up dialogue, thanks to sound mixer Will Files.
March 16, 2012, 8:55 am
This tip comes by way of George McCarthy, who was our VFX Editor extraordinaire on Mission: Impossible 4. I also created an online EDL to SubCap Converter you can use in lieu of the more manual way described below. If you're on a show that has to turnover a sequence to a VFX house, you'll...
February 7, 2012, 8:22 am
On most of the films that I've worked on, I've needed to keep at least two Avid systems up to date. This could be because an editor wants to be able to cut from home, or the Director wants the ability to cut on set. To handle this I wrote a Terminal (bash) script that searches for any new MXF or OMF media on specified volumes since the last time the script was run.
February 1, 2012, 11:32 pm
In terms of workflow, planning for MI4 was certainly a challenge. We had six camera formats including 35mm; 65mm; and RED, as well as three release formats for normal theaters, IMAX Digital, and IMAX Film. Keeping all of that together took a little bit of effort.
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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