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June 6, 2009, 1:50 pm
David Rennke has been an editor for more than 20 years and has used every editing system imaginable—but always finds himself gravitating back to Avid. On his latest project, editing King Hollis’ independent film Pearl, Rennke used Avid Media Composer 3.0.5. He edited most of Pearl’s dailies on his laptop, on set, which made the process convenient and efficient. For finishing, he used Avid DS v.10 with DNxHD 220x. This allowed everything to work seamlessly and without any crashes—something...
March 6, 2009, 12:15 pm
In Parts III and IV Chris and I go on to speak about technical issues and the fact that the film was a hybrid; shot on both 35mm film and digital. Chris cuts on the Avid, and the complexity of post production was compounded by the fact that the 35mm elements were shot 3-perf, a technique where the exposed image fills the entire surface area of the frame without any matte area or "wasted space". 3-perf is an excellent solution when shooting in 1:1.85 aspect ratio because it reduces the cost...
March 6, 2009, 12:14 pm
Here is Part II of my interview with Chris Dickens, award winning film editor of this year’s Slumdog Millionaire. In this installment I ask Chris how he connected with Danny Boyle and what were some of the of the more creatively challenging aspects of making the film.
March 6, 2009, 12:12 pm
Today we present Part I of a multi-part series with award winning film editor Chris Dickens. Chris is the recipient of this years "triple crown" of editing awards for his work on "Slumdog Millionaire", for which he took home the American Cinema Editor’s (A.C.E.) EDDY Award, the British Academy of Film an Television Arts (BAFTA) award and the Academy of Motion Picture Arts and Sciences, Academy Award.
March 6, 2009, 12:11 pm
Learn how Digital Vision and Avid provide the most complete and ultimate post production solutions for any RED camera project; close up and personal. With the participation of Ted Schilowitz, Leader of the RED Rebellion, these workshops will demonstrate a unique end-to-end solution for your next project.
March 6, 2009, 12:10 pm
Amid the pre-Oscar festivities, the American Cinema Editors (ACE) held its ninth annual Invisible Art Visible Artist Seminar with the Academy Award-nominated picture editors at the Egyptian Theatre in Hollywood on the eve of the Oscars. Moderated by Alan Heim, A.C.E., the seminar featured insightful conversation about their nominated films and their approach to editing.
March 5, 2009, 12:06 pm
To coincide with our Karen Pearlman interview Focal Press has given us two chapters from her book Cutting Rhythms: Shaping the Film Edit. The first is about Timing, Pacing and Trajectory Phrasing (Chapter 3) and the second is about Tension, Release and Synchronization (chapter 4). Here's Chapter 4
March 5, 2009, 12:04 pm
To coincide with our Karen Pearlman interview Focal Press has given us two chapters from her book Cutting Rhythms: Shaping the Film Edit. The first is about Timing, Pacing and Trajectory Phrasing (Chapter 3) and the second is about Tension, Release and Synchronization (chapter 4). Here's Chapter 3
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.
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