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November 17, 2010, 2:34 pm
Growing up as a little girl, I always wanted to be the good-looking archaeologist/adventurer... like Indiana Jones (though I wouldn’t complain about being Lara Croft, either). His tongue-in-cheek but painfully smart demeanour was something to look up to, and solving crazy puzzles leading to adventure in far away places was (and honestly, still kind of is) something to achieve in life. (Then that last movie came out... My reaction was similar to how the kids reacted in the TV show South Park.)
May 6, 2010, 12:16 pm
The number one thing that I get asked by my readers is "do you have any suggestions for newbie editors?" Well, yes I have many, but my most important suggestion is to read up on your theory. In my relatively short experience in the professional industry I’ve encountered many students and other indie filmmakers who know how to use the tools, but can’t figure out why their films don’t compete well with the same types of films out there using the same tools. I’ve found that most of what those generic film schools/polytechnics lack is a solid theory foundation in its curriculum. It’s one thing to know the tools (Final Cut, Avid, etc); anyone can learn to use the blade tool to cut a scene. But it’s a whole other (much more important) thing to know what to do with them. What will help to make you stand out among the thousands of other "editors" who just bought/downloaded software and learned how to use it? Knowing why you make the cuts you make.
April 21, 2010, 10:58 am
Just as there are many different forms of editing, there are also many different forms of acting. Along the same lines, certain forms of editing compliment certain kinds of acting. Harvey Keitel is a good example of someone who uses a particular form of acting (Method Acting, to be exact) where an editing style involving long takes is the most effective way to cut. He immerses himself in his character in order to actually become that character for a long period of time. Likewise, the editing has to allow the viewer to immerse his or herself into the character as well.
April 7, 2010, 10:48 am
Easter 2010 has come and gone. Christians all over the world spent last weekend celebrating Jesus dying on the cross and coming back three days later by hunting for Easter eggs (and hopefully not forgetting to go to church in the meantime). But Christian or not, movies about Jesus appeal to many, and regardless of whether you believe in him as a man or the son of God (or even if you don’t believe he existed at all) his story is still a great story to adapt to film.
March 24, 2010, 10:16 am
Periodically my husband and I find things pinned to our door by our nieces who live down the hall from us. The objects they pin up range in content from holiday decorations to 10 year old marker drawings, but some of my favourite are from what appears to be a Chuck Norris day to day tear off calendar with meditative Chuck Norris thoughts or concepts. Some of them have migrated to our fridge for the permanent collection. My personal favourite: "Before Chuck Norris was born, there were no rainbows."
March 10, 2010, 10:08 am
I grew up in San Francisco, and I still consider it my true home. Whenever I see a movie that features the city I feel my heart well up and a wave of longing hits me. Thankfully, most of my family is still there and I can go visit them when I have some extra funds. Now I live in Vancouver, which is basically the San Francisco of Canada, and it is very similar— but when I see that Golden Gate I know I’m not home unless I’m there.
February 24, 2010, 8:40 am
George A. Romero is the man responsible for truly putting a philosophical twist on the motivations behind the "Zombie" by asking the question: just <em>why</em> are they eating people? As everyone [now] knows, they don’t process nutrients or really need to feed, but instead their actions are based on pure instinct. After some deep thinking on existential zombie issues, I came to the conclusion that really, it’s all just an excuse to show the effects of the "mob mentality" by way of the undead tearing someone apart.
February 10, 2010, 8:33 am
Really, any play written for theatre is extremely hard to translate to film and make it filmic. This is especially true for particularly wordy plays, such as anything written by Shakespeare. The number one rule "show not tell" has to be creatively re-thought to make it work in order to translate to screen, and to do that is more easily said than done.
January 27, 2010, 5:58 pm
Every little kid goes through a dinosaur phase, and I was no exception. In fact, when Jurassic Park came out on VHS I bought that over a gameboy (I was 8 years old). In any case, meeting prehistoric creatures always gets movie crowds going, even from the very beginning of film (the first animation that could be considered a movie was Gertie the dinosaur in 1914). Special effects have come a long way since 1914 (or even 1925 when The Lost World featured stop motion dinosaur action), and consequently have brought them back from a kind of extinction. Even if only to make humans a thing of the past...
January 13, 2010, 5:52 pm
<strong>Wow.</strong> New Years, as usual, was quite a party. Unfortunately, some people ended up partying too hard, and woke up not feeling too hot the next morning. Whoops. Well, it seems fitting to showcase some exceptionally bad hangovers (from not only New Years but all other types of parties as well) as a follow up from last episode, so here we go.
December 30, 2009, 12:32 pm
New Year’s is the time to make resolutions, change your ways, and cleanse your spirit for the better. Unfortunately, everybody’s definition of "better" is different, and I’ve taken the time to outline a few examples here. The commonality is that each character decides to execute these resolutions at a New Year’s party— and what’s New Year’s without a party?
Gordon sits down with Marcus Schioler, Antoine Rotondo, & Marc-André Ferguson to discuss the big announcement at A ...
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.
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