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July 5, 2012, 3:43 pm
Editors Mark Atken ASE, Andy Canny, and Sound Designer Craig Carter talk about about the challenges of editing episodic TV as well as the different approaches from the directors and how this affects the editing style for each episode. Craig talks about the differences doing sound design for TV as appeased to Big Budget films.
April 18, 2018, 12:58 pm
Last time, in our look at learning DaVinci Resolve, we talked about the basics of importing footage into your Media Pool. In the next three articles, I want to look at bringing in footage from the three major NLE’s, Avid Media Composer, Adobe Premiere Pro and Final Cut Pro X, as this is one of the more common workflows, as editors more more and more towards doing their color correcting in Resolve. Let’s get started by looking at getting your footage out of Media Composer and into Resolve.
April 18, 2018, 10:01 am
Today Western Digital Corporation (WDC) introduced its highest capacity conventional magnetic recording (CMR) HDD with the Ultrastar DC HC520. The HC520 comes in capacities up to 14TB introducing a new, lower level of TCO for the cloud and enterprise guys. The new drive leverages WD’s fifth-generation HelioSeal technology to help deliver density, and better power usage per TB, and price per TB.
April 18, 2018, 4:30 am
Blind LTD have released a bunch of pictures about their holograms work on PACIFIC RIM – UPRISING (click on the picture below to watch them)...
April 18, 2018, 4:30 am
There have been very few attempts at hero suites in the film industry. The most notable have been SGO's Mistika and Quantel's Rio. Neither have ever been particularly accessible to independent filmmakers, primarily due to their price tags. Mistika, until very recently, was available either as a single-shot compositor in the form of MambaFX or as part of a turn-key workstation with starting prices in the six-figure range. Rio's pricing was similar.
April 18, 2018, 4:30 am
In this exclusive interview, FCPWORKS chats with Ben Jehoshua from Brian Graden Media. Ben recently directed the debut season of Secret Genius, a Spotify documentary series about singer-songwriters. The project was also the first piece of original video content for Spotify and was produced using Final Cut Pro X and Lumaforge’s Jellyfish.
April 17, 2018, 9:19 am
Did you like robots, spaceships and alien planet? Then be sure to watch this VFX breakdown by Image Engine about their work on LOST IN SPACE...
April 17, 2018, 9:19 am
At NAB, Jan Ozer met with about a dozen companies with stakes in HEVC and/or AV1. This is another in a series of video interviews he conducted with them.
April 17, 2018, 5:11 am
If there is one thing RedShark Editor in Chief David Shapton took away from NAB 2018, it is a reinforcement that 8K really does have true benefits to our viewing experience, and it will become normal far faster than any of you think.
April 17, 2018, 5:06 am
Image Engine presents Lost in Space Breakdown Reel.
April 17, 2018, 5:06 am
Goodbye Kansas Studios – The Walking Dead has firmly established itself as one of the most successful and popular TV series in the world. We have been doing VFX for this undead hit show since season 6, resulting in an Emmy nomination for our VFX Supervisor Staffan Linder and his team in 2016 (for their work on ep 609).
Gordon Burkell sits down with Joe Letteri to discuss his Oscar-nominated work on War for the Planet of the Apes.
Gordon Burkell sits down with Nathan Robitaille and Nelson Ferreira to discuss the sound design of The Shape of Water, for wh ...
Gordon Burkell sits down to talk to Bruno Verdoni, who plays Pat in Molly's Game, about acting, working with Aaron Sorki ...
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