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  • AOTG

    My Post House: Mercury Labs

    October 6, 2010, 8:10 pm
    Chris Lawing is director/editor at Mercury Labs, a cinema and communications company in St. Louis and San Francisco. Lawing has directed, edited and produced hundreds of commercials, brand videos and television content. He created an OnDemand channel in Atlanta, produced a nationally syndicated TV show, and directed the music video "Movie of Your Life," which won several Telly awards, DV awards, and numerous film festival awards. Prior to founding Mercury Labs (formerly Mercury Multimedia)...

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  • Other Postings By Member

    • AOTG
      EDITING

      2018 Emmy Nominees Announced

      July 12, 2018, 9:50 am
      Here's the full list for Emmy Nominees 2018.

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    • FALLEN KINGDOM: Pietro Ponti - VFX Supervisor
      VFX

      FALLEN KINGDOM: Pietro Ponti - VFX Supervisor

      July 12, 2018, 4:29 am
      Pietro Ponti started his career in visual effects in 2004. He has worked on many films like 10’000 BC, THE DARK KNIGHT, TERMINATOR GENISYS and FANTASTIC BEASTS AND WHERE TO FIND THEM.

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    • PACIFIC RIM - UPRISING: Behind the VFX
      VFX

      PACIFIC RIM - UPRISING: Behind the VFX

      July 12, 2018, 4:29 am
      Russell Bowen, CG Supervisor at DNEG, talks about the environment work on PACIFIC RIM – UPRISING...

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    • The Art of Ant-Man & The Wasp with Marvel Studios
      VFX

      The Art of Ant-Man & The Wasp with Marvel Studios

      July 12, 2018, 4:29 am
      Whether they’re designing enormous tissue-growing, green-skinned warriors or rapidly shrinking, astonishingly tiny superheroes, Marvel Studios’ Visual Development Department has mastered its ability to visualize the look and feel of the Marvel cinematic universe. Ant-Man and the Wasp premiered at the El Capitan Theatre in Hollywood on June 25 and hits cinemas July 6, 2018. On the heels of the US release, six of the Marvel Studios Visual Development team will assemble at the Lenovo Stage at Gnomon School of Visual Effects on July 12 to uncover the stunning work that went into designing Ant-Man and the Wasp, Marvel’s 20th movie.

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    • AOTG
      EDITING

      Is ‘Approved by Netflix’ becoming the new base

      July 12, 2018, 4:28 am
      First cameras started proudly wearing their ‘Approved by Netflix’ badges and then the streaming giant turned its attention to domestic television sets. The latest thing we have seen now is a list of hardware and software that the company specifies for colour grading in Dolby Vision, the format it uses for mastering, packaging and delivery of all its Netflix Originals.

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    • Creating a Dark and Stormy Night in FCPX
      EDITING

      Creating a Dark and Stormy Night in FCPX

      July 11, 2018, 12:26 pm
      This week on MacBreak Studio, I show Steve Martin from Ripple Training how to create an animated outdoor scene using only a photo and a few effects built in Final Cut Pro X.

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    • Working for Scale: ‘Ant-Man and The Wasp’ Ups
      VFX

      Working for Scale: ‘Ant-Man and The Wasp’ Ups

      July 11, 2018, 12:26 pm
      Fans of Ant-Man’s amazing miniature world are in for many more elaborate visual effects in the fantastic sequel Ant-Man and The Wasp, in theaters now. This time around, the Quantum Realm and The Wasp take the lion’s share of the creative team’s work.

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    • AOTG
      VFX

      Foundry ships Flix 5.4

      July 11, 2018, 9:17 am
      Foundry has released Flix 5.4, the latest update to its next-generation ‘collaborative story development tool’, originally developed in-house at Sony Pictures Imageworks.

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    • AOTG
      VFX

      Top blockbuster VFX you're not meant to see

      July 11, 2018, 9:17 am
      Plenty of summer blockbusters and event television shows are of the effects-driven variety, filled with incredible computer-generated characters that still retain a sense of photorealism.

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    • Editing Dialogue by moviola.com
      EDITING

      Editing Dialogue by moviola.com

      July 11, 2018, 9:17 am
      Good editors tend to work viscerally; shot choice and cut points for dialogue scenes are chosen as often by instinct as they are by careful deliberation. So it’s not too surprising that when you ask an editor how they come to their decisions they’ll often respond with a blank stare. This is where the study of editing comes in.

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