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October 13, 2010, 11:23 am
HOLLYWOOD — On one of the larger soundstages at Red Studios in Hollywood, Lightiron (www.lightirondigital.com) colorist Ian Vertovec is perched on a raised platform about 16 feet in the air at the center of the nearly empty space. He gently moves track balls on the Pablo's Neo control panel, adjusting the color timing for the David Fincher film The Social Network. On the far wall behind him is a Sony SRX-T420 4K projector. On the front wall is a 40-foot screen with an image from one of the...
October 13, 2010, 11:22 am
Although many TV series on the broadcast and cable networks still originate on film, digital acquisition of all types has boomed, impacting post production paths. "Post workflows for digital shows are settling in," says Nick Bradley, co-producer of the new FX series, Terriers. "Now it’s a matter of a DP finding the right camera that enables them to shoot like they did with film: capturing amazing images with lots of latitude while enjoying the bonuses you get on the back end in post."
October 13, 2010, 11:21 am
Last month, Post teamed up with the Visual Effects Society to host a panel at the Createasphere conference in New York City. I served as moderator of the "Hot VFX NYC" session, which evolved into a discussion of the business of visual effects in the competitive New York market. The slate of panelists had no shortage of commentary over the hour-and-a-half session, which still managed to highlight much of their impressive work. Panelists included: Dan Schrecker, VFX supervisor at Look Effects...
October 13, 2010, 9:05 am
Film festivals are a great way for people in the filmmaking community to get out there and expand their circle. Great movies and world premieres aside, VIFF hosted a series of workshops at its Film+TV Forum, where I was fortunate to witness Academy award-winning Stephen Mirrione deliver a powerful, engaging presentation on the importance and impact of the editor in the filmmaking process. I have been a big fan of Mirrione's work for many years, so this was a special occasion for me.
October 13, 2010, 9:04 am
I want to see you – here! If you're do any kind of editing – picture, sound, assisting, VFX, negative – on any kind of piece – student, infomercial, feature, doc, drama, etc. – I would love to post a photo of you in your cutting room, wherever it is. Feel free to send any kind of photo: professional, arty, funny, etc. Here's an example...
October 12, 2010, 7:25 pm
Two weeks ago "30 Rock" had a story arc involving the video editors of the show and how scary it was to go down to them. They controlled the video and you didn't want to piss them off or else you might not get your stories cut. Over the top humor that I love about 30 Rock and really made me laugh. And then it made me think, "Editors aren't really prima donnas, are we?"
October 12, 2010, 11:51 am
In this short Premiere Pro video tutorial, you will learn the principle of using the beat of your soundtrack to pace your editing to produce either a safe or an uneasy feeling with your production. You will learn how to apply markers and how to use those markers to guide your cuts in the timeline.
October 12, 2010, 11:08 am
During her more than 50 years in the craft, film editor Anne Coates has been a stealth collaborator and ally to many of the world's finest directors including Sidney Lumet, David Lynch, Milos Forman, Lawrence Kasdan and Steven Soderbergh. She has left her mark on a remarkable catalogue of films that contains more gems than the crown jewels of merry old England. Starting with The Pickwick Papers in 1954, Coates went on to edit such films as The Horse's Mouth, Lawrence of Arabia.
October 12, 2010, 11:06 am
Okay, so it's been a while since I've done what I originally intended to do with this blog: keep my various projects aggregated into one site. I'm slowly getting back into it, and I think I'll start back off by going in reverse order, starting with my project from the last few weeks.
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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