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January 30, 2010, 8:27 am
Most of us have contradictory attitude toward trailers. Trailers are a bonus - we get to see a part of another film - for the price of seeing the movie we just paid for. They help us get in the mood for the feature. We can use them to reject a movie and save ourselves time and money. They can also be refreshers, helping us relive and remember a movie.
January 29, 2010, 8:25 am
Our story so far: Our intrepid editor and geek just spent about $7000 on a new editing computer. To try and save money, he bought the HP Z800 without a DVD drive or video card. When he finally tries to install the BluRay burner...)
January 29, 2010, 8:23 am
If you follow me on twitter (twitter.com/comebackshane) then you might have seen me vent my frustration from time to time about getting stock footage masters without matching timecode. Here’s what happens. You are editing a show and need to use some stock footage...
January 28, 2010, 8:21 am
HBO's The Sopranos has unnerved and delighted audiences with engrossing tales of dysfunctional wiseguys and their codependent families. From season one, veteran A.C.E. editors, Sidney Wolinsky, Conrad Gonzalez and William Stich, have been cutting this controversial drama. After the current fourth season - which is shooting on 35mm but is cablecast in HD - is finished they will have collectively cut 52 episodes of The Sopranos from over five million feet of footage.
January 28, 2010, 8:20 am
After working with HDV for just over a year, I am finally working with Panasonic P2 again. I was finally able to convince my boss to shoot some recreations with the P2 Varicam. We were able to do this because his normal shooters were busy, and he wanted to see what all the hullabaloo was all about. Sure, we’d be mixing this footage with the bulk of a program that was shot on HDV, captured as ProRes, but because of the style of this recreation, it should stand out fine.
January 27, 2010, 8:20 am
As a digital editing systems trainer in the 90s and 00s, I enjoyed training and demoing for all types of editors. For a session, day, or week I got to inhabit their worlds and see firsthand their unique challenges, methods, and triumphs. None surprised me more than a veteran trailer editor. So this post and the next will be devoted to the joys of trailer editing and the works of the always uncredited trailer editors.
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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