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  • AOTG

    ASSIMILATE Unveils Next Generation of SCRATCH

    April 11, 2011, 12:06 pm
    Apr 11, NAB 2011, Las Vegas, USA: ASSIMILATE, the leading provider of powerful post-production tools for digital workflows, today announced that it is launching version 6 of SCRATCH, its best-selling comprehensive, end-to-end digital cinema and broadcast imaging tool for post-production workflows.

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  • Other Postings By Member

    • The Reality of Cutting Reality
      EDITING

      The Reality of Cutting Reality

      August 12, 2010, 12:34 am
      I connected with Adam Coleite after putting out a call for reality editors to interview on Facebook. We met up at a restaurant of his choice – a Corner Bakery in Burbank. A genial 30-something, he gave me a rundown on the logistics and challenges of editing reality (love the double entendre) as well as some insightful comments on audience perceptions of the genre and his own take on it.

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    • RED POST - The Easy Way II
      EDITING

      RED POST - The Easy Way II

      August 12, 2010, 12:28 am
      The RED camera company has succeeded in shaking up the industry and getting all other camera manufacturers to rethink what a digital cinema camera should be. This year, the ARRI Alexa presents the first serious challenge by another system designed around a camera raw workflow.

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    • AOTG
      EDITING

      Edit Fest 2010 Pictures are available NOW!

      August 11, 2010, 5:51 pm
      Edit Fest has the photos from this past weekend up! You can check them out Now!

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    • Episode 38 - Day four from Edit Fest LA
      EDITING

      Episode 38 - Day four from Edit Fest LA

      August 11, 2010, 2:17 pm
      John and Gord talk about Sally Menke, as well as editing reality.

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    • Collaboration and Why The Auteur Theory Is Bull
      EDITING

      Collaboration and Why The Auteur Theory Is Bull

      August 11, 2010, 1:06 pm
      Directors, listen to me hear — it’s impossible to make a film by yourself. Not every idea you’re going to have is good, and not all good ideas are going to come from you. The best comments I’ve gotten from directors are when they turn to me after viewing my Editor’s Cut and say "Wow, there were some things in there that I never would have thought of myself. Thanks." Of course, that doesn’t mean that we’re going to use those ideas...

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    • Review - Loader for Final Cut Pro
      EDITING

      Review - Loader for Final Cut Pro

      August 11, 2010, 1:33 am
      Final Cut Pro’s greatest strength is also its greatest weakness, and that is its open-endedness. What I mean by that is that Media Composer has a very "rigid" way of working, and importing media means that you take a clip, and upon import, MC converts it to an MXF (or possibly an OMF) file, and once it’s in your system, the external file that it came from is essentially useless.

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    • AOTG
      EDITING

      Every Editor Deals with This Issue

      August 10, 2010, 9:12 pm
      Dealing with clients who don't realize they have to pay the full price. Here's a great/funny example of this in video format.

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    • AOTG
      EDITING

      Controversial Edit

      August 10, 2010, 8:38 pm
      During the next 12 months, the edit unfolded in a way I had never experienced. A 90-minute documentary in the United Kingdom would normally involve a straight run of nine to 11 weeks of cutting. However, the schedule for this film was dictated by the Zimbabwe government and its ability to continually postpone the international court case—the film's subject matter—was staggering. Shooting was interrupted, and this meant we had to approach the edit in a very different way. We had to be fluid...

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    • To Transcode or NOT to Transcode
      EDITING

      To Transcode or NOT to Transcode

      August 10, 2010, 4:11 pm
      With the release of Premiere Pro CS5 earlier this year, the topic of native editing, and more specifically, native DSLR editing has been a big one...worldwide. From literally every country I’ve visited, people are discovering the power of DSLR video and leveraging it to it’s fullest. But the questions I’m continually asked are, "Why does Final Cut Pro/Avid Media Composer force you to transcode? Why don’t you transcode in Premiere?"

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    • Episode 037 - Edit Fest LA Part 3 2010
      EDITING

      Episode 037 - Edit Fest LA Part 3 2010

      August 10, 2010, 2:53 pm
      Today we will release part of the talk on the opening night where Matt Chesse discusses how he got into film editing.

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