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January 10, 2010, 7:46 am
If you think that unwrapping the mysteries of transcoding file-based camera footage provides its challenges, you will find the post-production workflow on Avatar either very scary, or a completely visionary model of things to come. Learning and creating as needs arose, picture editors James Cameron, A.C.E.; John Refoua, A.C.E.; and Stephen Rivkin, A.C.E.; as well as assistant editor Jason Gaudio and producer Jon Landau, have created a unique process that was centered completely on director...
January 10, 2010, 7:44 am
When first assistant editor Jason Gaudio joined Avatar’s editorial staff in October 2006, he was no stranger to visual effects-laden films, having been an assistant visual effects editor on Cameron’s Titanic (1997) and Michael Bay’s Armageddon (1998). As a first assistant, his credits later included Brad Silberling’s Lemony Snicket’s A Series of Unfortunate Events (2004) and Gil Kenan’s Monster House (2006), which provided Gaudio with an early education in the evolving world of performance...
January 10, 2010, 7:37 am
MPEG: Carol is a wonderful person and a terrific editor. She is someone that I’ve always had great respect for and whose work I’ve always admired. Congratulations on this award, Carol; you’ve earned it! ...
January 10, 2010, 7:36 am
Carol Littleton, A.C.E., has never been one to sit back and wait for something to happen. Instead, she makes things happen. For example, as a novice film editor in the late 1970s, she did not wait around patiently, hoping for jobs to come her way. Rather, Littleton took charge of her career by forming her own commercial editing company. Experiencing first-hand the difficulty of breaking into what was virtually a closed shop, she did not spend her time complaining about the status quo, but...
January 9, 2010, 7:36 am
Digital Jungle, one of Hollywood's top post-production and digital workflow studios, had the distinct honor of being one of the first post production houses in the world to create a 3D workflow for the new Panasonic Viera active 3D television set, debuting at the Consumer Electronics Show this week.
January 8, 2010, 7:35 am
The Online Film Critics Society, an organization comprised of Internet-based film journalists, has named Kathryn Bigelow’s The Hurt Locker the best film of 2009. They've also named Chris Innis and Bob Murawski as winners for best editing, The Hurt Locker.
January 8, 2010, 7:34 am
This is the third of several episodes covering a workflow for using Red Digital Cinema Cameras with your Avid editing application. In this episode, we’ll conform a sequence that was offline edited in Avid to uncompressed HD for finishing in Media Composer or Symphony. Look out for a special appearance by my son Jonah.
January 8, 2010, 7:33 am
As a supplement to my post on how to convert and Avid locators file to chapter markers for Final Cut Studio, I decided to just make a little web app to do it for you. Paste the contents of your locators file in the top box, click Convert, and then copy/paste the contents of the bottom box into a new text file and import that into DVDSP or Compressor.
January 7, 2010, 7:32 am
This oft asked question echoes the age old question, "What do women want?" The latter question is, thankfully, being asked less and less as women are taking their power around the world and men and women are connecting and understanding each other more. Here’s my answer to the former question...
January 7, 2010, 7:31 am
"Jim was originally going to edit the whole thing himself," recalls editor John Refoua [Balls of Fury], "but after a little while he realized that with all the work and directing it was going to be too much. He called me to come in for six weeks and that was two and a half years ago.
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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