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July 14, 2010, 10:04 am
It was only a few years ago that Avid, trying to win back the hearts and minds of customers who were abandoning them and going to Final Cut and other systems, adopted the motto: "We’re Listening." With the release of Media Composer 5, it’s obvious they did. One of the most anticipated releases in years, Avid’s re-realized Media Composer 5 is among the most robust, feature-laden and dynamic packages from the company in over a decade. It’s taken that long (some say even longer) for Avid to...
July 14, 2010, 10:03 am
The introduction of the Matrox MX02 Mini actually makes a little bit of video history: It’s the first third-party hardware option Avid deemed worthy of being allowed into the exclusive club with Media Composer. Matrox is well-known for its quality and value, so the partnership with Avid bodes well for both companies.
July 13, 2010, 2:20 pm
Steve Jobs e-mail reassurances notwithstanding, this is a question that’s getting asked a lot in editing suites these days, especially those with large Final Cut Pro/Final Cut Studio installations. While users of other software; Adobe CS Suites including Premiere and After Effects, Avid’s Media Composer, Sony Vegas and Square Box Systems CatDV just to name a few, get new features and powerful upgrades, Final Cut Pro editors are stuck waiting on the sidelines.
July 13, 2010, 1:26 pm
Once the interviews were synced, all the clips were converted to Apple ProRes 422 24fps. After gathering all of the perspectives from each interview, I came across two lines that helped me really understand and create Sasha's story. Her father talks about Sasha's contradicting personalities— as if there were a constant battle between the two sides of this curiously engaging girl. This conflict goes even deeper when Froomer asks Sasha to introduce herself.
July 13, 2010, 10:51 am
Yeah, I know, I know. I already knew this, and I have told many MANY other people that they should edit XDCAM as ProRes...but I thought that I’d just save a LITTLE time with these quick promos I am cutting and keep them as XDCAM, but render them out of Color as ProRes. I did a small test and it worked.
July 12, 2010, 4:56 pm
Michael Clayton has been described as a thriller, but it’s more about "soul sickness," according to writer-director Tony Gilroy, about people who find themselves in exile facing moral dilemmas. As a result, his brother, editor John Gilroy, A.C.E., had to make sure the audience stayed inside the characters, while creating a subtle build-up of tension throughout. The filmmakers also created a specific look, which paid homage to movies from the 1970s, in which composition within a widescreen...
July 12, 2010, 4:55 pm
So what advice would you expect from a Pulitzer Prize-winning playwright father to his younger son, who will be editing the first feature film of his eldest son? "Just cover his ass," John Gilroy, A.C.E., laughs.
Paul Leonard-Morgan joins Gordon Burkell to discuss composing with Philip Glass for Amazon's Tales from the Loop.
Celia Haining, editor of The Crown, joins Gordon Burkell to discuss editing for story.
The filmmakeru.com team explores the history of color in film in our series Birth of an Art. From coloring in single frames ...
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