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  • BURIED vs 127 HOURS

    BURIED vs 127 HOURS

    March 9, 2011, 8:54 am
    A while back, I reviewed 127 Hours and how much I loved the editing. As a professional editor it made me think about how to be better and more creative when I’m at work. It doesn’t get much more inspiring than that.

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  • Other Postings By Member

    • AOTG
      VFX

      Chris Terrio Apologizes to ILM for Leia VFX Slight

      January 3, 2020, 3:35 pm
      If you've been on the internet the last few weeks its been impossible to avoid talk about Star Wars and its treatment of Rose Tico. She was only in Rise of Skywalker for a little over one minute long, and the general reason given by Christ Terrio was that she had much more time on screen planned, including a few scenes with Leia.

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    • AOTG
      EDITING

      Red Shark Review of the Year - October 2019

      January 3, 2020, 3:35 pm
      While we would never say that 8K has become standardised, it’s very much a known entity; we’ve all got a map in front of us and we know where we’re hiding, the argument is just about the finer details of the route and how long it will take to get there.

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    • AOTG
      EDITING

      Apple Vs. RED: Was the REDCODE RAW Patentable or U

      January 3, 2020, 3:35 pm
      In May, Apple filed a patent petition claiming that RED’s patent on REDCODE RAW was “Unpatentable” for a number of reasons. After the hearing, the court ruled in RED’s favor, stating that Apple’s legal team had not supported their claims sufficiently. This decision means that RED will retain the patent on its implementation of raw compression.

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    • AOTG
      EDITING

      Editor For Once Upon A Time… Reveals The Scenes

      January 3, 2020, 3:35 pm
      Clocking in at two hours and forty-one minutes, Once Upon A Time… In Hollywood fits the standard time length for a Quentin Tarantino film. Inglorious Basterds clocks in at two hours and thirty-three minutes, Django Unchained is two hours and forty-five minutes, and The Hateful Eight hits nearly two hours and fifty minutes. Long, detailed, dialogue-driven epics are common for Tarantino. However, in the case of Once Upon A Time… In Hollywood, the amount of footage cut from the film nearly equals the film’s finished product.

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    • AOTG
      VFX

      THE WITCHER: Julian Parry - Overall VFX Supervisor

      January 2, 2020, 4:37 pm
      Julian Parry began his film career as a special effects technician in the early 1980s. He began working in visual effects in 1900 at Rushes Post Production and works on a large number of projects such as SEVEN WONDERS OF THE INDUSTRIAL WORLD, CAMELOT, TITANIC: BLOOD AND STEEL and VIKINGS.

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    • AOTG
      SOUND

      Toy Story Revisited: The Making of an Unlikely Cla

      January 2, 2020, 4:36 pm
      (Infinity and Beyond is a bi-weekly series in which Josh Spiegel looks back at the history and making of every feature film in Pixar’s filmography. In today’s inaugural edition, he kicks off the column with the movie that started it all: 1995’s Toy Story.)

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    • AOTG
      EDITING

      Find the Funny: Tips for Directing and Editing a C

      January 2, 2020, 4:36 pm
      Before a whole generation was ruined with aspirations of becoming Instagram, Vine, or now TikTok famous, there was a whole — slightly older — generation ruined by chasing ever-elusive fame on video sharing platforms like Funny or Die or just YouTube.

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    • AOTG
      SOUND

      Capturing Sound with the New 32-Bit Floating Audio

      January 2, 2020, 4:36 pm
      Cameras that shoot RAW are more forgiving for new shooters. This new audio format — a 32-bit floating point — promises to do the same for sound capture.

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    • AOTG
      VFX

      WATCHMEN: VFX Breakdown by Outpost VFX

      January 2, 2020, 4:36 pm
      Come have a look at the work of Outpost VFX on the first episode of the season one of WATCHMEN...

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    • AOTG
      EDITING

      Editor Maryann Brandon on editing The Rise of Skyw

      January 1, 2020, 4:38 pm
      The Force Awakens and The Rise of Skywalker editor Maryann Brandon discusses her process and how she structures the edit of a film with Steve Hullfish from ProVideo Coalition.

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