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June 28, 2011, 9:28 am
am not going to convict the software because I think it is good and I believe it is the tool foe editors going forward. I'll stand by that. I wonder what this rollout might have been like if Apple did this.
August 21, 2018, 9:46 am
At the beginning of the year, Stephane Paris explained the work of Cinesite on THE COMMUTER. He then returns to the Marvel Cinematic Universe for ANT-MAN AND THE WASP.
August 21, 2018, 9:45 am
Of course, it is! Whether you want to make clouds, fog, smoke, or other atmospheric effects, there are many elements to it…. particle effects, lighting, rendering, and more. Here are some tutorials to get you acquainted with some of the techniques.
August 21, 2018, 9:41 am
Timothy René and Teresa open up the mailbag and answer some questions from listeners. We tackle how directors can find a good match with a sound designer, how to find the sonic voice of an animated project, and how edits done in a home studio can best translate to mix stages.
August 21, 2018, 7:00 am
In recommending a “no vote” on the ratification of new IATSE film and TV contract, Editors Guild Local 700 says that the pact’s new media residuals formula has such an “extraordinarily narrow scope” that it “excludes nearly all of new media.” In a posting on its website, the guild says that Netflix’s Bright “was the sole example cited in negotiations of a recent show that would qualify.”
August 20, 2018, 12:13 pm
Tomorrow I start teaching a new class of students how to use Apple Final Cut Pro X. As I was reflecting on my class, it struck me that having a list of “core principles” would be useful in getting them oriented.
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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