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May 25, 2011, 8:17 am
The Society of Motion Picture and Television Engineers (SMPTE) announced on May 3 that it will make its standard for closed-captioning of online video content (known as SMPTE Timed Text and by the designation SMPTE 2052) available free of charge.
March 10, 2009, 12:23 pm
Avid today unveiled an end-to-end HD news solution that enables broadcasters to produce HD programming more cost-effectively. With this powerful solution, broadcasters can easily acquire, edit, network, manage assets, playback and control functionality of Sony XDCAM HD (LongGoP HD MPEG2) content, with a workflow designed to deliver significant time, storage and bandwidth savings.
March 9, 2009, 12:21 pm
You feel as a viewer that you’re inside the movie," says Joyce Arrastia, describing the new, three-dimensional film Monsters vs. Aliens from DreamWorks Animation and Paramount Pictures, which she and Eric Dapkewicz edited. "Rather than feeling like the characters are popping out of the screen, you feel like you are sitting in their fantasy world."
March 9, 2009, 12:21 pm
Future Media Concepts thinks it has an idea. The national training center concentrates on prepping future and current users of digital media—the most popular classes covering, of course, the top NLE applications from Apple and Avid, but there’s more on many of the other products you’d imagine it’s useful to learn: Adobe Photoshop and After Effects, Autodesk 3ds Max and Maya, sound design, website design and development and more.
March 9, 2009, 12:20 pm
After Effects users have long asked for the ability to import and composite 3-D models directly inside of After Effects. Now, thanks to Photoshop Creative Suite 4’s more obvious 3-D layer capabilities, and After Effects CS4’s new support for these layers, importing 3-D models into AE is possible. But be warned, taking advantage of these new 3-D features comes with some fairly steep hardware requirements. In this article, we’ll take a look at these new 3-D capabilities and see what...
March 9, 2009, 12:19 pm
Michael Pedraza is a man with a plan. While attending film school in Arizona, he decided that he would work with one of his two favorite editors—Michael Kahn, A.C.E., or Dylan Tichenor, A.C.E. Happily, he had an "in" in that his editing teacher’s claim to fame was that he had worked in Kahn’s editing room on Saving Private Ryan.
March 9, 2009, 12:18 pm
In my many years as an Avid and Final Cut Pro editor, I have become intimately familiar with the differences between the two platforms, and have worked to help minimize those differences. In most cases, the differences are cosmetic, requiring little more from the editor than learning the FCP equivalents of Avid buttons and commands. However, there are still some Avid functions or workflows for which there is no analogue in FCP, and nowhere is this more evident than in the area of project...
March 8, 2009, 12:17 pm
London. Rain. Tunnels. Brushing up against wet umbrellas. Giving directions to visitors when I am one myself. It doesn’t matter what country I am in, I must be a beacon, a target for those stranded looking eyes. I see their minds calculating and their bodies approach as they think I could be the one to indicate a direction to the left or right. I give a guess hoping I have pointed the woman in the right direction and then turn left to board the tube to meet up with Oscar-nominated editor...
March 7, 2009, 12:17 pm
Part V of my interview with Chris Dickens. In this segment I ask Chris if he had any indication that the film was going to be the worldwide phenomenon it has turned out to be. I also ask him what it is like to be in the center of the awards season vortex.
March 7, 2009, 12:16 pm
As editors, who often live with a film for an extended period of time, it becomes like one of your children. In this segment I ask Chris about sequences from Slumdog he is especially proud of, or ones that hold a special place in his heart. We talk about some of the directors he admires who have influenced him, his fondness for stories told in a non-linear way and how his director Danny Boyle encouraged him to take risks and try new ideas while cutting the film.
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...
Gordon sits down with Alan Baumgarten and Josh Schaeffer to discuss their Eddie nominated work on the film Molly's Game.
Tom Cross and Gordon Burkell sit down to discuss the editing of Hostiles and how to work with footage to affect the pacing an ...
Gordon Burkell interviews Paul Machliss about timing and editing Baby Driver.
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