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  • Baselight to Final Cut Pro

    Baselight to Final Cut Pro

    April 10, 2011, 5:46 pm
    On Saturday the news broke that Filmlight is releasing a full featured Baselight color correction plug in for Final Cut Pro. On their website they clearly show the plug in running on Final Cut Pro 7 but the release date is not until Fall 2011. Baselight to FCP Of course we all know now that Spring 2011 has floated by numerous reliable sources as the release date for the new Final Cut Pro (8? X? iMovie Pro?).

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  • Other Postings By Member

    • AOTG
      VFX

      Foundry relaxes plugin restrictions on Nuke Indie

      September 25, 2020, 1:32 pm
      Foundry has released Nuke Indie 12.2v3, the latest version of its $499/year edition of the compositing software aimed at freelancers and artists starting up in business for themselves.

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    • AOTG
      EDITING

      3 demo reel templates for Premiere Pro

      September 25, 2020, 1:32 pm
      If you're looking to showcase your video work in style, then check out our top three templates for Premiere Pro to help you create a showreel or demo reel.

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    • AOTG
      SOUND

      Sound Devices released Major Firmware Update v7.00

      September 25, 2020, 1:32 pm
      Sound Devices just released a major firmware update for the 8-series mixer/recorder. Besides a long list of improvements and additions, the most notable new feature is SuperSlot support for the Wisycom MCR54 wireless receiver and compressors on all busses. The SD-Remote App also got a v7.00 update with additional features.

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    • AOTG
      EDITING

      The 5 Essential Phases of Video Editing

      September 25, 2020, 1:32 pm
      It’s commonly noted that for many aspects of art, there are no rules. While you could say the same for editing, there’s still a set of practical and theoretical practices that will improve your videos. Today let’s look at the practical side and divide your edit into specific stages to maintain an efficient workflow.

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    • AOTG
      VFX

      VFX Supervisor Tim Crosbie Breaks Down VFX of 'The

      September 25, 2020, 1:32 pm
      As of Monday, “The Eight Hundred” became the highest-grossing movie of 2020 at the global box office, overtaking “Bad Boys for Life.” To date, the Chinese war epic has raked in $425 million and continues to exceed all expectations.

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    • AOTG
      VFX

      Foundry’s Nuke Indie 12.2v3 Update Now Available

      September 25, 2020, 1:31 pm
      Back in July, AWN reported that leading media and entertainment creative software company Foundry released Nuke Indie, an accessible version of Nuke Studio for eligible solo artists. Nuke Indie was the latest addition to the Nuke family of products combing industry-leading node-based compositing toolset of NukeX with the conform, editorial and review capabilities in Nuke Studio, making it a powerful and important tool for artists wanting to create high-quality visual effects.

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    • AOTG
      VFX

      VFX Legion Signs CG Supervisor Blake Anderson

      September 25, 2020, 1:31 pm
      VFX Legion has announced that CG supervisor, Blake Anderson, has joined the recently launched B.C. division’s leadership team; the industry veteran brings a range of skills and experience managing and collaborating with large work-from-home teams of artists on feature films and episodic series. The announcement was made by company founder, James David Hattin.

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    • AOTG
      VFX

      PERRY MASON: VFX Breakdown

      September 24, 2020, 4:52 pm
      Don’t miss this VFX Breakdown by Pixomondo about their work on the impressive World War 1 sequence and many more for PERRY MASON...

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    • AOTG
      VFX

      THE UMBRELLA ACADEMY - Season 2: Jeff Campbell

      September 24, 2020, 4:52 pm
      In 2013, Jeff Campbell explained the work of Spin VFX on AFTER EARTH. He then worked on many shows including GAME OF THRONES, JOHN WICK, FEAR THE WALKING DEAD and THE SHANNARA CHRONICLES.

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    • AOTG
      SOUND

      Use of Sound Infuriates Some, Inspires Others

      September 24, 2020, 12:48 pm
      The boffo global box office for “Tenet” is proof of the public appetite for Christopher Nolan’s abilities as a filmmaker, but as the film opens in more countries and, gradually, the United States, familiar questions are being raised about the director’s idiosyncratic approach to sound, and its impact on how much — or how little — of the film audiences are able to comprehend.

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