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May 20, 2010, 4:46 pm
Ever set up your project to work in 16 or 32-bit float, and you then apply an effect, only to get into the effects window to find that the effect only supports 8-bit? Annoying isn’t it? Wouldn’t you love to know what bit depth the effect supports before you drop it onto your clip? Well, now you can!
July 9, 2010, 3:37 pm
Here is a post for getting started with Compressor. In most cases, you have the software and have no idea what it does or how it could save you a lot of time or you just never learned it. That’s okay. I am surprised how many people use Final Cut Studio, but don’t take advantage of this huge timesaver. The best part about FCP7, to me, is that you can render using compressor in the background while you continue to edit in Final Cut Pro.
July 8, 2010, 3:54 pm
The UK’s Digital Vision (www.digitalvision.tv/products.aspx) and Seattle’s Automatic Duck (www.automaticduck.com/products) are offering interoperability between their toolsets with the integration of Nucoda, a color grading, finishing and mastering tool for film, television and commercial post, with Pro Export FCP, Automatic Duck’s export plug-in for Final Cut Pro.
July 8, 2010, 12:29 pm
With Media Composer 5, you can access Quicktime and R3D files natively using AMA (provided you have the horsepower). In this episode, I’ll show you how to link to AMA volumes, change the R3D source settings (such as ISO, color temperature etc.) within Media Composer, adjust the formatting and then transcode to DNxHD.
July 8, 2010, 12:25 pm
Adobe is shipping its much-anticipated Creative Suite 5. The video applications are available either as single products or bundled in the Master Collection or Production Premium suite. Most video editors will be interested in the latter, because it includes Premiere Pro, OnLocation, Encore, After Effects, Photoshop Extended, Illustrator, Adobe Media Encoder, Soundbooth, Flash Catalyst and Flash Professional.
July 7, 2010, 3:37 pm
Editor Don Zimmerman and Re-Recording Mixer Brad Engleking on Killer Workflows. If you’ve ever admired the craftsmanship that went into a film completed at Troublemaker Studios in Austin, TX — think the striking black-and-white styling of Sin City or the lovingly battered look of the Grindhouse omnibus film — you probably already know that Troublemaker’s impresario, filmmaker Robert Rodriguez, implements digital technology in ways that facilitate, rather than complicate, the creative process.
July 7, 2010, 10:53 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 didOne 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.
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 ...
Gordon sits down with Ivan Victor to discuss his work editing 68 Whiskey.
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