Be a part of a unique online community that connects post production professionals and film academics worldwide.
You'll have access to personalize your news feed, access to Live Post Talks and much more. Contribute to the community by posting interesting post production content.
February 9, 2011, 8:33 am
Lee Smith began his career in the movie industry as a sound designer for internationally respected directors such as Phillip Noyce (Dead Calm), Jane Campion (The Piano), George Miller (Lorenzo’s Oil), and Peter Weir (Green Card). "I was fortunate enough to be working for a company that would let me do sound and picture work," Lee informs me.
January 29, 2010, 8:25 am
Our story so far: Our intrepid editor and geek just spent about $7000 on a new editing computer. To try and save money, he bought the HP Z800 without a DVD drive or video card. When he finally tries to install the BluRay burner...)
January 29, 2010, 8:23 am
If you follow me on twitter (twitter.com/comebackshane) then you might have seen me vent my frustration from time to time about getting stock footage masters without matching timecode. Here’s what happens. You are editing a show and need to use some stock footage...
January 28, 2010, 8:21 am
HBO's The Sopranos has unnerved and delighted audiences with engrossing tales of dysfunctional wiseguys and their codependent families. From season one, veteran A.C.E. editors, Sidney Wolinsky, Conrad Gonzalez and William Stich, have been cutting this controversial drama. After the current fourth season - which is shooting on 35mm but is cablecast in HD - is finished they will have collectively cut 52 episodes of The Sopranos from over five million feet of footage.
January 28, 2010, 8:20 am
After working with HDV for just over a year, I am finally working with Panasonic P2 again. I was finally able to convince my boss to shoot some recreations with the P2 Varicam. We were able to do this because his normal shooters were busy, and he wanted to see what all the hullabaloo was all about. Sure, we’d be mixing this footage with the bulk of a program that was shot on HDV, captured as ProRes, but because of the style of this recreation, it should stand out fine.
January 27, 2010, 8:20 am
As a digital editing systems trainer in the 90s and 00s, I enjoyed training and demoing for all types of editors. For a session, day, or week I got to inhabit their worlds and see firsthand their unique challenges, methods, and triumphs. None surprised me more than a veteran trailer editor. So this post and the next will be devoted to the joys of trailer editing and the works of the always uncredited trailer editors.
January 27, 2010, 8:18 am
The first reason for editing was longer films. The next idea was lets put these images together and tell a story. You’re a storyteller. It doesn’t matter if you are editing a news package, a documentary, a film or an online feature using stills, It’s all storytelling. Putting the images together to try and tell a story is editing. It’s the beginning of editing, it’s also the middle and the end of editing. Every edit should be made for the story.
Gordon Burkell sits down to discuss Selina MacArthur's Emmy nominated work on Black Mirror's USS Callister.
Gordon Burkell sits down with Beth Morgan to discuss the costume design for GLOW.
Gordon Burkell sits down with Tanya Swerling to discuss her work on the show GLOW.
Choose what Post News gets sent directly to your E-Mail, daily or weekly.
Get your post news on your favourite Apple device, when you want it where you want it.
Get your post news on your favourite Android device with the AOTG Android App.