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November 17, 2010, 11:44 am
I recently finished a TV movie that was shot on Red and Canon 5D, cut in Media Composer 5, conformed in Smoke, and timed from the original raw R3D files in Lustre. None of that is particularly unusual these days (though timing from the R3Ds is still rare in television). But there seem to be a whole lot of people who are confused about these processes. If you’re among them, then maybe the following will help you make sense of it.
Jody McVeigh-Schultz and Lane Farnham discuss tackling HBO's documentary series McMillion$, a series that explores the f ...
Gordon sits down with cinematographer James Kniest to discuss his work on The Haunting of Bly Manor. Including hiding people ...
Gordon sits down with documentary editor and producer Kathryn Robson to discuss storytelling and her work on the hit Netflix ...
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