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March 15, 2013, 10:02 am
So what's the deal with Final Cut Pro X now that it's been out for almost 2 years? Can you actually use it for "professional" editing? Is it really just "iMovie Pro"? Why do some people seem to love it and others seem to hate it?
November 5, 2017, 6:55 am
Blackmagic Design has updated their Video Assist 4K LCD monitor/recorder. This time they have improved the color reading Vectorscope by adding the much needed 2x and 4x zoom capability within the scope. Blackmagic also updated general performance and stability to both the Video Assist and the Video Assist 4K as well. Now, the Vectorscope along with The post Blackmagic Updates its Video Assist and Video Assist 4K appeared first on ProVideo Coalition.
November 5, 2017, 6:55 am
Billy Fox, ACE, last spoke to Art of the Cut after he cut Straight Outta Compton. Fox’s other feature film work includes Hustle and Flow, Low Riders, Footloose and Black Snake Moan. His TV work is also notable, including the critically acclaimed and Emmy-nominated work on Band of Brothers and Emmy-winning editing on Law and Order. The post ART OF THE CUT with Billy Fox, ACE on “Only the Brave” appeared first on ProVideo Coalition.
February 21, 2017, 6:24 am
Alexandre De Franceschi, ASE (Australian Screen Editors) has been an editor for more than 30 years, cutting over a dozen feature films in addition to a career as a sought-after commercial editor. He has edited numerous TV series and feature films with director Jane Campion and John Curran and recently edited Lion, the critically acclaimed The post ART OF THE CUT editing Best Picture nominee “LION” appeared first on ProVideo Coalition.
February 20, 2017, 5:27 pm
La La Land, this year’s big Oscar nominee, is the first feature film to have a female sound editing team nominated. Millie Iatrou and Ai-Ling Lee, were co-supervising sound editors on the film. Ai-Ling was also tasked with sound design and shared mixing duties with legendary re-recording mixer Andy Nelson (2 Oscar wins among his The post La La Land-28 Weeks of Post Audio-Week 15 appeared first on ProVideo Coalition.
February 20, 2017, 11:17 am
A collaboration between Pixar Animation Studios and Khan Academy, sponsored by Disney, the Pixar in a Box project will have six new lessons in 2017. Discover what storyteller means at Pixar and learn to be one. Pixar in a Box is a behind-the-scenes look at how Pixar artists do their jobs. It started in 2015, The post Pixar in a Box reaches Season 3 appeared first on ProVideo Coalition.
February 20, 2017, 6:17 am
If you’re a Media Composer editor looking to add After Effects to your editing toolkit, this first of a two part webinar series is a no-brainer! I’m always surprised with I talk with Avid Media Composer editors, and I ask them about how much the use Adobe’s After Effects. I think the main reason that The post After Effects Bootcamp for Avid Editors – Part 1 appeared first on ProVideo Coalition.
February 17, 2017, 10:52 am
Imagine William Gibson’s cyberpunk universe and sci-fi products like Blade Runner, Terminator, Escape from New York, Aliens, Akira or Tetsuo the Iron Man and you’ve the inspiration for the short film from filmmaker Nicola Piovesan. The Kickstarter campaign has now 11 days to go, and reached close to €14,000 of a €18,000 goal, with nearly The post Attack of the Cyber Octopuses: Sci-Fi without CGI appeared first on ProVideo Coalition.
February 16, 2017, 1:15 pm
In this lesson, Kevin P McAuliffe talks about the newest features in version 8.8 of Avid Media Composer, including the return of two much anticipated features, PhraseFind and ScriptSync. Media Composer has hit some huge milestones in the last 1-2 years. The additions of both larger than HD projects, as well as custom project sizes The post Let’s Edit with Media Composer – What’s New in 8.8 appeared first on ProVideo Coalition.
Gordon sits down with Joe Walker to discuss Steve McQueen's new film Widows.
Gordon sits down with Barry Brown to discuss his work on editing BLACKkKLANSMAN, Spike Lee's latest film.
Gordon Burkell sits down to discuss Selina MacArthur's Emmy nominated work on Black Mirror's USS Callister.
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