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March 13, 2009, 12:26 pm
A couple of great suggestions for creating flawless H.264 Quicktime—and Flash!—movies popped up in the comments section of my last article. They deserve their own article. Reader Brandon Cory suggests that exporting a Quicktime reference movie from Final Cut Pro in the Animation codec and then running that through Compressor’s H.264 encoder should retain the proper gamma settings.
March 13, 2009, 12:25 pm
There’s nothing like waking up in the morning and realizing that your chief marketing tool is probably driving away more clients than it’s attracting. I both love, and hate, Quicktime. Flash is the universally accepted method of viewing video on the web but it doesn’t seem to be an easy or cost-effective tool for those of us who want to manage our own showreel web sites.
March 12, 2009, 12:23 pm
With the release March 2 of software versions of Media Composer 3.5 and Symphony 3.5, Avid Technology, Inc. has announced an all-new open architecture that will ultimately facilitate a host of new workflows for file-based cameras, in addition to new Stereoscopic 3-D capabilities, better integration with ProTools and the long-awaited "death of the dongle key." The company has also taken the opportunity provided by this new release to add another group of new features and performance...
March 10, 2009, 12:23 pm
Avid today unveiled an end-to-end HD news solution that enables broadcasters to produce HD programming more cost-effectively. With this powerful solution, broadcasters can easily acquire, edit, network, manage assets, playback and control functionality of Sony XDCAM HD (LongGoP HD MPEG2) content, with a workflow designed to deliver significant time, storage and bandwidth savings.
March 9, 2009, 12:21 pm
You feel as a viewer that you’re inside the movie," says Joyce Arrastia, describing the new, three-dimensional film Monsters vs. Aliens from DreamWorks Animation and Paramount Pictures, which she and Eric Dapkewicz edited. "Rather than feeling like the characters are popping out of the screen, you feel like you are sitting in their fantasy world."
March 9, 2009, 12:21 pm
Future Media Concepts thinks it has an idea. The national training center concentrates on prepping future and current users of digital media—the most popular classes covering, of course, the top NLE applications from Apple and Avid, but there’s more on many of the other products you’d imagine it’s useful to learn: Adobe Photoshop and After Effects, Autodesk 3ds Max and Maya, sound design, website design and development and more.
March 9, 2009, 12:20 pm
After Effects users have long asked for the ability to import and composite 3-D models directly inside of After Effects. Now, thanks to Photoshop Creative Suite 4’s more obvious 3-D layer capabilities, and After Effects CS4’s new support for these layers, importing 3-D models into AE is possible. But be warned, taking advantage of these new 3-D features comes with some fairly steep hardware requirements. In this article, we’ll take a look at these new 3-D capabilities and see what...
March 9, 2009, 12:19 pm
Michael Pedraza is a man with a plan. While attending film school in Arizona, he decided that he would work with one of his two favorite editors—Michael Kahn, A.C.E., or Dylan Tichenor, A.C.E. Happily, he had an "in" in that his editing teacher’s claim to fame was that he had worked in Kahn’s editing room on Saving Private Ryan.
March 9, 2009, 12:18 pm
In my many years as an Avid and Final Cut Pro editor, I have become intimately familiar with the differences between the two platforms, and have worked to help minimize those differences. In most cases, the differences are cosmetic, requiring little more from the editor than learning the FCP equivalents of Avid buttons and commands. However, there are still some Avid functions or workflows for which there is no analogue in FCP, and nowhere is this more evident than in the area of project...
March 8, 2009, 12:17 pm
London. Rain. Tunnels. Brushing up against wet umbrellas. Giving directions to visitors when I am one myself. It doesn’t matter what country I am in, I must be a beacon, a target for those stranded looking eyes. I see their minds calculating and their bodies approach as they think I could be the one to indicate a direction to the left or right. I give a guess hoping I have pointed the woman in the right direction and then turn left to board the tube to meet up with Oscar-nominated editor...
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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