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June 7, 2012, 3:48 pm
We were recently interviewed by SpliceVine about how ScreenLight got started, the problems we are solving, and what makes us special. The interview also touches on our approach to marketing at NAB, how we go about prioritizing features, and some of the other cloud services that we think are useful for editors and production companies. It's an interesting read if I do say so myself :).
June 27, 2012, 9:46 am
In last week's post I mentioned I would share a tutorial on how to transcode to Prores 422 with Adobe Media Encoder. Unlike Final Cut Pro, Premiere Pro CS6 doesn't have a Log and Transfer tool that can easily transcode native footage to ProRes - and since one of Premiere Pro's main selling points is it's ability to edit with native formats, why should it?
June 26, 2012, 8:48 pm
Great communication is at the heart of working with others to tell compelling stories. Today we speak with ScreenLight customer Tangent Mind about their approach to working with clients and the role that ScreenLight plays in centralizing communication throughout the video production process.
June 18, 2012, 9:36 pm
As a Final Cut Pro Editor, there were two features in Premiere Pro CS6 that informed my decision to seriously consider making the switch and making it my NLE of choice. As someone who has used After Effects for a number of years, Dynamic Link was one of these (you can read my post on round-tripping between Premiere Pro and After Effects with Dynamic Link...
June 17, 2012, 6:32 am
With the future of the Mac Pro always in doubt and Rich's impending switch to CS6, we started talking about what it would take to build a hackintosh and whether such a machine could be counted on as a primary editing system.
June 11, 2012, 2:17 pm
Making the switch from Final Cut Pro to Premiere Pro as my primary NLE, I often find myself trying to find PPr equivalents to all the great time-saving tricks I had up my sleave with FCP. For me, one of the most often used of these techniques was exporting non self-contained reference Quicktime movies out of FCP.
June 9, 2012, 8:25 am
One of the biggest splashes at NAB was the preview of AutoDesk Smoke 2013. With the Free Publicly Available Smoke Pre-Release Trial beginning immanently I thought it would be a good time to put down some of my thoughts on the all new Smoke.
June 4, 2012, 7:51 pm
As a long time Final Cut Pro editor, I must say I am really enjoying working with Premiere Pro. I have completed 3 projects now on PPr and the experience has been phenomenal. The learning curve has been fairly painless, although as I mentioned in an earlier post there is not nearly the amount of resources out there for Premiere Pro as there are for Final Cut Pro.
June 4, 2012, 7:50 pm
As I continue to make the transition from Final Cut Pro to Premiere Pro 6, I plan on posting video turtorials of some of the more interesting features of the application. One of the first features that caught my attention was Dynamic Link, which makes workflows between Premiere Pro and After Effects almost a no-brainer.
June 4, 2012, 7:31 pm
With the introduction of Adobe Creative Cloud, deciding which licensing path to take is now more complicated than ever before. In this post I will look at some of the options and how they breakdown in terms of cost and flexability.
May 13, 2012, 8:24 am
This post on 7 reasons why video production values matter for video marketing should bring warmth to the hearts of production companies and editors that are feeling the squeeze from cut rate competitros that may be cheap but can't tell a good story.
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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