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November 30, 2017, 10:33 am
There's a lot of creative power held in the hands of the film editor. In this post I round up some superb video essays that unpack some of the theoretical and practical ways you can wield that power for better storytelling results...
October 23, 2017, 7:45 am
DPA Microphones, the leading Danish Professional Audio manufacturer of high-quality condenser microphone solutions for professional applications, is pleased to announce that Jewel Kusek has joined the DPA team in the United States as General Manager of DPA Microphones, Inc.
August 28, 2017, 3:07 pm
NCE's annual international masterlass on film editing focuses on scripted TV, with special guests Lisa Bromwell, ACE and Byron Smith, ACE, both editors of many episodes of Netflix' groundbreaking show House of Cards. September 23, Utrecht, The Netherlands (in English)
August 17, 2017, 6:04 am
Story is powerful. The Narrativa team at Autodesk discovers and develops ideas that empower all storytellers. We look at the function of story for our species in the past, today and in the future. Knowledge-based systems, machine intelligence, and generative methods are accelerating and soon will enable impactful stories to be told by anyone.
August 13, 2017, 4:08 pm
Adobe delivered one of the most impressive papers at this year's SIGGRAPH technical papers. The essence of the paper is to build on previous research to provide Stylized Facial Animations based off an arbitrary example style, such as a painting. This paper is the basis of Jakub Fišer PhD at the Czech Technical University in Prague. This work is so impressive, it seems almost like magic, but in reality their clever solution takes advantage of some special aspects of faces, some core Adobe Photoshop tech and the previously published research that the team has been working on for some time.
August 2, 2017, 9:12 am
When I was twelve years old—bear with me, this will get relevant soon—I and a number of friends and relatives went to see The Addams Family at a well-appointed movie theater in San Diego. I had already seen the movie once, but with compromises being what they are this was the only movie everyone could agree to see and so I agreed, having liked it the first time, to see it again. Before the trailers started, a friend of my dad’s who was a writer and wore leather jackets and was cool, turned to me and asked me how I’d liked the picture the first time, and added that I must have liked it if I was agreeable to see it again. “It’s fun,” I said. But because I wanted him to think I was smart—cool was a bridge too far; this was, after all, a man who owned more than one leather jacket and whose girlfriend was blonde and rather hyperbolic in appearance—I added “But the plot’s kind of stupid.” Soon the lights went down, the movie commenced, and was fun (again). And my dad’s cool writer friend turned to me approvingly and said, “That was fun. And you were right about the plot.” And I felt smart. And almost cool.
Tom Cross and Gordon Burkell sit down to discuss the editing of Hostiles and how to work with footage to affect the pacing an ...
Gordon Burkell interviews Paul Machliss about timing and editing Baby Driver.
Gordon Burkell interviews Kenneth Branagh and Patrick Doyle about composing music and specifically composing the song Never F ...
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