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  • AOTG

    Ramy Katrib: Founder and CEO, Digitalfilm Tree

    December 21, 2009, 5:45 am
    When FCP hit the world back in 1999 the program was regarded as a video editing application. For those wishing to work with film, and match the negative to the edit produced within Final Cut, this was a formidable challenge. Those at a Los Angeles based edit facility known as DigitalFilm Tree were pioneers who broke through the wall of expensive post production and made film editing using FCP possible. Ramy Katrib, Founder and CEO of DigitalFilm Tree, was instrumental in making this happen...

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  • Other Postings By Member

    • AOTG
      EDITING

      'Palm Springs' Editor on the Alternate Beginning Y

      December 30, 2020, 3:08 pm
      "Palm Springs" editor Matt Friedman tells TheWrap there was a whole other beginning of the film that they ultimately decided not to use.

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    • AOTG
      SOUND

      The Most Popular Sound Effects Libraries of 2020

      December 30, 2020, 3:08 pm
      2021 is almost here, but let's not pass up an opportunity to recognize some of the talented SFX creators who contribute to the site - here are 12 of the most popular libraries from 2020...

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    • AOTG
      COLOR

      December 30, 2020, 3:08 pm
      In our Color Code column, Luke Hicks chooses a handful of shots from a favorite film in order to draw out the meaning behind certain colors and how they play into both the scene and the film as a whole. For his fifth entry, he digs into Todd Haynes’ Carol.

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    • AOTG
      EDITING

      Converting Videos to MP4

      December 29, 2020, 5:40 pm
      I am often asked about transferring VHS or another format to MP4. Since my typical transfer job for a customer is usually to convert a lot of videos to either DVD or USB, I need to carefully consider the most efficient way to do this. One approach is to use a simple interface between the VHS deck and my computer. A device like the”Video 2 PC” converter from Ion enables you to bring the tape into your computer. But you can only do one at a time. Some of the tapes, however, are six hours long. That’s too long to tie up a computer.

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    • AOTG
      VFX

      'Cast Away' and the story behind Imageworks' in-ho

      December 29, 2020, 2:08 pm
      In the 1990s there was a flurry of interest and developments in digital compositing. Many VFX studios had taken on tools like Quantel’s Harry, Kodak’s Cineon, Wavefront’s Composer or Discreet Logic’s Flame, while a number of node-based solutions, such as Digital Domain’s (later Foundry’s) Nuke and Nothing Real’s (later Apple’s) Shake, further emerged in this era.

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    • Episode 279 — Your Next Pay Rise
      VFX

      Episode 279 — Your Next Pay Rise

      December 29, 2020, 2:07 pm
      A lot of us have this myth in our head that if we work hard and stay out of trouble, good things will come our way. That is a mistake. The truth is that it doesn’t work that way. Nobody is paying attention. The other part of it is that we typically wait for our annual review.

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    • AOTG
      VFX

      How VFX Artist Created Beasts and Landscapes

      December 23, 2020, 3:13 pm
      “Monster Hunter” director Paul W.S Anderson calls VFX head Dennis Berardi “an invaluable creative partner.” The two have collaborated on movies dating back to “Resident Evil.”

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    • AOTG
      VFX

      Zack Snyder Thanks Snyder Cut Supporters After Rai

      December 23, 2020, 3:13 pm
      While the chief goal of the Snyder Cut movement was to get director Zack Snyder’s fully realized vision for Justice League out to the masses, it also did some good for charity along the way. Fans have raised a lot of money for the American Foundation for Suicide Prevention in honor of Zack Snyder’s late daughter Autumn, and continue to do so even with Zack Snyder’s Justice League on course for a 2021 release. Now the filmmaker has once again thanked those who have donated money to this worthy cause.

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    • AOTG
      VFX

      A 'Midnight Sky' VFX conversation—Part 1: LED wa

      December 23, 2020, 3:13 pm
      George Clooney’s The Midnight Sky, now streaming on Netflix, follows action both on Earth (in the Arctic) and in space (mainly on the spacecraft Æther). The filmmakers looked to new virtual production methods, in particular LED walls using ILM’s StageCraft technology set up at Shepperton Studios, to help realize icy Arctic environments.

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    • AOTG
      VFX

      The Crown Season Four

      December 22, 2020, 2:19 pm
      Check out Framestore's work for the fourth season of The Crown.

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