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October 13, 2010, 11:23 am
HOLLYWOOD — On one of the larger soundstages at Red Studios in Hollywood, Lightiron (www.lightirondigital.com) colorist Ian Vertovec is perched on a raised platform about 16 feet in the air at the center of the nearly empty space. He gently moves track balls on the Pablo's Neo control panel, adjusting the color timing for the David Fincher film The Social Network. On the far wall behind him is a Sony SRX-T420 4K projector. On the front wall is a 40-foot screen with an image from one of the...
January 19, 2018, 7:05 am
Ten years ago Digidesign discontinued the popular Control|24 Pro Tools control surface. The Control|24 was launched in 2001...
January 18, 2018, 1:45 pm
On Tuesday, Jan. 23, the Academy of Motion Picture Arts and Sciences will unveil nominations for the 90th annual Oscars. It’s been a season marked, refreshingly, by a lack of frontrunners in most major categories. Combined with an extended phase two this year (thanks to the Winter Olympics), it ought to make for a spirited sprint to the finish line after the races are firmed up next week.
January 18, 2018, 11:22 am
For film and video editors, using music in your videos is a great way to liven up scenes and present more enjoyable information. However, simply dropping in a track and letting it play can wear thin. In this video tutorial from Cinecom, Jordy Vandeput dives into audio editing advice and offers up some simple tricks of the trade he’s developed to keep his videos fun and upbeat.
Tom Cross and Gordon Burkell sit down to discuss the editing of Hostiles and how to work with footage to affect the pacing an ...
Gordon Burkell interviews Paul Machliss about timing and editing Baby Driver.
Gordon Burkell interviews Kenneth Branagh and Patrick Doyle about composing music and specifically composing the song Never F ...
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