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  • Production Buzz Feb 2, 2011 episode

    Production Buzz Feb 2, 2011 episode

    February 3, 2011, 10:56 am
    The New Mexico Post Alliance, surviving as a boutique post house, meet LOLA – Germany’s Oscar, and WebM, H.264, and HTML/5 explained — all this, plus a NEW Buzz Shout-out!, on this week’s show! The Buzz Shout-out! gives you a FREE chance to showcase your best work! Visit here for all the details. This week’s...

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  • Other Postings By Member

    • AOTG
      VFX

      The Man in the High Castle VFX Breakdown

      April 15, 2019, 6:29 am
      Come have a look at the work of Barnstorm VFX on the third season of THE MAN IN HIGH CASTLE...

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    • AOTG
      SOUND

      Why Alan Sallabank Continues To Use Windows For Pr

      April 15, 2019, 6:29 am
      It’s come to my attention that it’s almost four years since I wrote my one of my first Pro Tools Expert articles - Five Reasons I Use A Windows PC For Pro Tools. This also coincides with it now being six years since I set up 8dB Sound and made the decision to base it mainly around Windows technology. Looking back at my article, I’m not struck by how much has changed, but more by how much has stayed exactly the same. In this article, I’m going to take a look back at my original reasons and see how they stack up now.

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    • AOTG
      COLOR

      How to Alter the Color of your video using Lumetri

      April 15, 2019, 6:29 am
      In this tutorial, I explore Premiere’s updated Lumetri curves — and how you can adjust, alter, and enhance the colors in your scene to boost your production value.

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    • How do you make VFX for a history that didn’t ex
      VFX

      How do you make VFX for a history that didn’t ex

      April 15, 2019, 6:28 am
      Amazon’s The Man in the High Castle is the story of an alternative early 1960’s in which World War II ended differently, and the United States has been divided into the Greater Nazi Reich and the Japanese Pacific States. For the show’s visual effects team, that premise created the need to help devise imagery – such as locations, vehicles and events – that appeared to be of historical accuracy.

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    • AOTG
      VFX

      TyFlow for 3ds Max

      April 15, 2019, 6:28 am
      Tyson Ibele is working on TyFlow, a complete rewrite of the Particle Flow system in 3ds Max.

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    • AOTG
      ANIMATION

      Working as an animator at Blue Sky

      April 15, 2019, 6:28 am
      Blue Sky Animator Lisa Allen talks animation: What’s the best way to start animating? Can you pick what shots you are working on at a studio? Find out more in this interview filled with character animation insights and advice!

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    • Scars, Tattoos & Digital Makeup: AE & Mocha Pro
      VFX

      Scars, Tattoos & Digital Makeup: AE & Mocha Pro

      April 14, 2019, 6:11 am
      How do you add SCARS, TATTOOS or DIGITAL MAKEUP to a person's face? Learn how to use Mocha Pro's planar tracker and the Mesh Warp tool to insert a flat image/video on a (non flat) human face!

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    • The small VFX details in ‘Game of Thrones’
      VFX

      The small VFX details in ‘Game of Thrones’

      April 14, 2019, 6:11 am
      We are SO close to the final season of Game of Thrones that I thought I’d re-publish this short story from vfxblog back from season 7.

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    • Oscar winner, Paul Hirsch
      EDITING

      Oscar winner, Paul Hirsch

      April 14, 2019, 6:11 am
      Paul Hirsch, ACE has edited some of the most iconic films in cinema history: Carrie, Star Wars; Star Wars: The Empire Strikes Back; Ferris Bueller’s Day Off; Planes, Trains and Automobiles; Mission: Impossible; Ray; and The Mummy among many, many others in a career that goes back 50 years.

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    • Shazam! Composer on Embracing Adventure
      SOUND

      Shazam! Composer on Embracing Adventure

      April 14, 2019, 6:11 am
      If ever a superhero movie called for an adventurous score, it’s Shazam!. The DC Comics adaptation it literally about a kid becoming a superhero, and director David F. Sandberg’s film is abundant with joy, wonder, and opportunity. To that end, when it came time to composing the film’s score, Sandberg enlisted his frequent collaborator Benjamin Wallfisch to draw from classic adventure films of the 80s, particular of the Amblin variety. The result is a score that wholly embraces the wish fulfillment at the center of the film’s story—it’s uplifting, wondrous, and personally reminded me of John Williams’ stellar work on Hook.

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