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February 29, 2012, 12:32 pm
SAGE would like to congratulate all members that have been nominated for a SAFTA award for Best Editing
July 12, 2018, 4:29 am
Pietro Ponti started his career in visual effects in 2004. He has worked on many films like 10’000 BC, THE DARK KNIGHT, TERMINATOR GENISYS and FANTASTIC BEASTS AND WHERE TO FIND THEM.
July 12, 2018, 4:29 am
Russell Bowen, CG Supervisor at DNEG, talks about the environment work on PACIFIC RIM – UPRISING...
July 12, 2018, 4:29 am
Whether they’re designing enormous tissue-growing, green-skinned warriors or rapidly shrinking, astonishingly tiny superheroes, Marvel Studios’ Visual Development Department has mastered its ability to visualize the look and feel of the Marvel cinematic universe. Ant-Man and the Wasp premiered at the El Capitan Theatre in Hollywood on June 25 and hits cinemas July 6, 2018. On the heels of the US release, six of the Marvel Studios Visual Development team will assemble at the Lenovo Stage at Gnomon School of Visual Effects on July 12 to uncover the stunning work that went into designing Ant-Man and the Wasp, Marvel’s 20th movie.
July 12, 2018, 4:28 am
First cameras started proudly wearing their ‘Approved by Netflix’ badges and then the streaming giant turned its attention to domestic television sets. The latest thing we have seen now is a list of hardware and software that the company specifies for colour grading in Dolby Vision, the format it uses for mastering, packaging and delivery of all its Netflix Originals.
July 11, 2018, 12:26 pm
This week on MacBreak Studio, I show Steve Martin from Ripple Training how to create an animated outdoor scene using only a photo and a few effects built in Final Cut Pro X.
July 11, 2018, 12:26 pm
Fans of Ant-Man’s amazing miniature world are in for many more elaborate visual effects in the fantastic sequel Ant-Man and The Wasp, in theaters now. This time around, the Quantum Realm and The Wasp take the lion’s share of the creative team’s work.
July 11, 2018, 9:17 am
Foundry has released Flix 5.4, the latest update to its next-generation ‘collaborative story development tool’, originally developed in-house at Sony Pictures Imageworks.
July 11, 2018, 9:17 am
Plenty of summer blockbusters and event television shows are of the effects-driven variety, filled with incredible computer-generated characters that still retain a sense of photorealism.
July 11, 2018, 9:17 am
Good editors tend to work viscerally; shot choice and cut points for dialogue scenes are chosen as often by instinct as they are by careful deliberation. So it’s not too surprising that when you ask an editor how they come to their decisions they’ll often respond with a blank stare. This is where the study of editing comes in.
July 11, 2018, 5:27 am
Repetitive strain injury (RSI) can result from spending long periods of time on a computer. If you don’t experience it yet, you may well in the future. A Wacom tablet helped Nick Granville-Fall manage his audio workflow and health better than a mouse alone...
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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