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December 26, 2009, 5:59 am
Many film-makers have begun to shoot on tapeless media. XDCam Ex, P2, video on DSLRs, Red, AVCHD, hard disk camcorders, and such like. So, naturally, where they would store tapes in a cupboard, they now have all their 'rushes' as digital video files sitting on hard disks.
December 25, 2009, 5:57 am
In part one of Garrett Gilchrist’s interview, veteran British film editor Mick Audsley talked about his work on Terry Gilliam’s upcoming The Imaginarium of Dr. Parnassus. His second collaboration with Gilliam will always be remembered as Heath Ledger’s last film but, according to Aubrey, salvaging both Ledger’s performance and, in the process, the film itself, will serve as a lasting memorial to the actor, who died during production at the age of 28.
December 24, 2009, 5:54 am
One argument I hear against tapeless formats OVER AND OVER again is, to paraphrase, "tapes are infallible. You can’t accidentally delete a clip from a tape. Having a PHYSICAL tape in your hand makes you sure you have the footage and it is there, and usable, and I can see it YEARS from now."
December 23, 2009, 5:52 am
Through both film editing and sound design, Walter Murch has worked literally behind the scenes of Hollywood to give shape and structure to the films we see. In the process, he's won three Academy Awards; he's directed his own feature-length film, the creatively subversive Return to Oz; and he's worked with some of the greatest directors of modern times, including Francis Ford Coppola and George Lucas, on some of their greatest films, from The Godfather trilogy and Apocalypse Now to...
December 23, 2009, 5:51 am
Some filmmakers simply tell a tale and use editing, camera and sound to portray it as artfully as possible. The editing remains mostly invisible in their hands as we become absorbed in story, place and characters. Directors Steven Spielberg, Ang Lee, and James Cameron fit this description. Other directors - Quentin Tarantino, Jean Luc Godard (and others in the 1950s French New Wave) Martin Scorsese, Francis Ford Coppola, Mel Brooks...
December 23, 2009, 5:49 am
This is the second of several episodes covering a workflow for using Red Digital Cinema Cameras with your Avid editing application. In this episode, we’ll take a sequence that was offline edited in Avid Media Composer and onform it to 4K DPX files for grading. For this, we’ll use Monkey Extract. Sorry for being late with this one, but I was not at home and couldn’t remote into my computer to upload the podcast. My bad.
Gordon sits down with Wyatt Smith to discuss the editing of Mary Poppins Returns and the challenges the film presented him in ...
Gordon sits down with Chayse Irvin to discuss his approach to shooting BlacKkKlansman and his theories about cinematography.
Bill Curso is a makeup artist with thirty plus years under his belt, he’s got three Oscar nominations with one win, fiv ...
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