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October 9, 2012, 9:26 pm
Adobe released the renamed and rebranded Adobe Media Server on June 21, 2012, with limited features, and yesterday evening it announced an update to catch some of what was missing. In a blog post, senior product manager for Adobe Media Server Kevin Towes announced the release of AMS 5.0.1. One of the major features is the inclusion of closed captioning that meets FCC requirements. This version also works with Windows Server, something that version 5.0.0 lacked, and supports multi-language...
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, 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
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).
April 17, 2018, 5:05 am
This is Allan McKay. Welcome to Episode 136! I’m speaking with Ivo Klaus, one of the FX Supervisors at Scanline VFX. Ivo has been at Scanline for over 13 years. Scanline has worked on anything from Black Panther, Tomb Raider, Justice League, Avengers, Suicide Squad, Transformers, Game of Thrones. I could go on and on. Most of the biggest films — Scanline has worked on!
April 13, 2018, 8:59 am
Roger Guyett explained the ILM‘s work on STAR WARS – THE FORCE AWAKENS in 2016. READY PLAYER ONE marks his new collaboration with director Steven Spielberg.
April 13, 2018, 8:59 am
Michael Benson subtitles his behind-the-scenes account of 2001: “Stanley Kubrick, Arthur C. Clarke, and the Making of a Masterpiece.” Anniversaries have become moments for sanctioned reflection, and this moment, in particular, has given many a reason to make pilgrimage again to the church of Kubrick and all his symmetrical lines. Benson, who used to make documentaries about struggling Eastern European artists but has spent much of the past few decades evangelizing space exploration, turns to the extended production schedule of Kubrick’s biggest movie to find meaning—and there’s a lot of ground to cover. Kubrick originally pitched the film to MGM to be completed and ready for release by the holiday season of 1966. Production would eventually stretch to four years, and Benson finds figments of genius throughout. But the strangest thing about 2001 was that it happened at all: Kubrick’s decision to turn to science fiction was canny—a raging fad in the lead up to the Moon landings, 2001’s extended production schedule also coincided with the first episode of Star Trek— but also enigmatic. The movie’s tone of intense, awe-driven sincerity appears nowhere else in any of his completed movies that followed and would be found, instead, in the even more profitable spectacles of his followers: Spielberg, Lucas, etc.
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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