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November 22, 2011, 3:26 pm
The evolution of technology has allowed us to speed up post-production over the years. We have seen edit suites shrink in size and turn around times get faster. One piece technology that has really helped this along are computer connections, from USB, to FireWire, to E-Sata, to Thunderbolt. Connections have been getting progressively faster.
December 8, 2013, 2:34 pm
Working with FCPX has its ups and downs. But thankfully there are companies like Industrial Revolution, that continue to support and enhance the platform. Their latest iteration comes in the form a of a new plugin called XEffects Toolkit. This is not to be confused with my previous review XEffects Tech for FCPX. This is […]
September 3, 2013, 9:39 am
This week I jump back into FCPX with a new color grading plug-in called Hawaiki Color available in FX Factory. This latest plug-in found within the widely known FX Factory provides you with the tools needed to create your custom look. The user interface has a very unique custom feel. The Large color wheels are […]
August 19, 2013, 8:35 am
Well, this one has been a long time coming. I have actually been working on Avid Media Composer 7 since launch. It has become my main editing platform since then. Mainly because I have been happy with Avid Media Composer since the major changes in 5.0, but even more so, since most of the edit...
April 23, 2013, 8:06 am
Last year at NAB, I had the opportunity to take a look at the pre-trial version of Autodesk Smoke. The post-production community was largely excited for the new release. There were some caveats that appeared, but I remained optimistic. Fast Forward to today, and Smoke 2013 has now been released with many of the features [...]
Gordon sits down with the Sound Design team (Just nominated for an Oscar) for A Quiet Place. Ethan Van der Ryn and Erik Aadah ...
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.
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