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December 29, 2009, 6:06 am
Final Cut Studio, Adobe and Avid editors and digital filmmakers from around the world will gather together for the Ninth Annual San Francisco SuperMeet, to be held on Friday, February 5, 2010 at the UCSF Mission Bay Conference Center in San Francisco, CA.
December 29, 2009, 6:05 am
There’s one woman in the world who understands Quentin Tarantino better than anybody, and that’s Sally Menke. Since her work on Reservoir Dogs, Menke has cut every single one of Tarantino’s films, and for the last decade, she’s eschewed almost all other jobs to devote herself solely to the genre-blending auteur. This Sunday, Menke will be receiving the Lifetime Achievement honor at the Hamilton Behind the Camera Awards, and as Inglourious Basterds begins its transformation from unexpected summer
December 28, 2009, 6:05 am
There is a saying that a film is made on two tables. One is story table and the other is editing table. It is left to the editor to change the fortune of the film with fine editing. Marthand K Venkatesh is an ace film editor in Telugu film industry today. 70% of the film he edited went on to become the blockbusters. Idlebrain.com has met up with him and a long personal as well as technical interview on film editing. Here are the excerpts...
December 28, 2009, 6:04 am
Ken Sallows is one of Australia's most noted editors. His career started in the 1970s working at Crawford Productions on legendary TV shows like Homicide, Bluey, and The Sullivans. He moved into the film world as an assistant editor on Fred Schepsi's The Chant of Jimmy Blacksmith (1978). His break as a feature editor came with Malcolm (Nadia Tass, 1986). Since then he has worked on some of Australia's most critically acclaimed films including Celia (Ann Turner, 1989), Proof (Jocelyn Moorhouse...
December 28, 2009, 6:04 am
The Story Department, a Sydney, Australia based website founded by OZZYWOOD Films producer and Story Analyst Karel Segers, requested my article on screenwriting for editing. They improved my article with a few astute edits and illustrations. Here’s the lead paragraph...
December 27, 2009, 6:03 am
The sheer mix and volume of formats to deal with today can be mind-boggling. Videotape player/recorders – formerly a common denominator – are a vanishing breed. Post facilities still own and use VTRs, but operations at the local market level, especially in broadcast, are becoming increasingly tapeless.
December 26, 2009, 6:01 am
Continuing on an article in the last Pro Video Coalition newsletter, The Basics of Avid Media Composer for a Final Cut Pro Editor, this article will look at a number of other functions and how they differ from Final Cut Pro to Media Composer. One of the main reasons why I’m writing these articles is that Avid offers a free, full-featured demo of Avid Media Composer 4 available for download. When I wrote the first piece that demo was only for 14 days.
December 26, 2009, 5:59 am
Many film-makers have begun to shoot on tapeless media. XDCam Ex, P2, video on DSLRs, Red, AVCHD, hard disk camcorders, and such like. So, naturally, where they would store tapes in a cupboard, they now have all their 'rushes' as digital video files sitting on hard disks.
December 25, 2009, 5:57 am
In part one of Garrett Gilchrist’s interview, veteran British film editor Mick Audsley talked about his work on Terry Gilliam’s upcoming The Imaginarium of Dr. Parnassus. His second collaboration with Gilliam will always be remembered as Heath Ledger’s last film but, according to Aubrey, salvaging both Ledger’s performance and, in the process, the film itself, will serve as a lasting memorial to the actor, who died during production at the age of 28.
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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