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April 13, 2015, 3:47 am
We check out all the new gear from Sony showcasing at NAB.
Including two new cameras, the X320 XDCAM and the HDC-4300 live broadcast camera, a new 4K OLED master monitor, HDR processing, new NLE editing software and 4K IP-based production systems.
August 22, 2015, 2:49 am
We catch up with sound recordist Ben Osmo on the set of Mad Max: Fury Road. Ben fills us in on recording sound on such an insane set, and how he managed to catch dialogue in the midst of explosions, collisions & big rigs roaring their way through the Namibian desert. This is a brilliant read!
August 22, 2015, 2:27 am
Guest writer, Julien Chichignoud recently caught up with Bill Roberts, Adobe's Sr. Director of Product Managment for Video to discuss the company's editing & film products. This is the first of our two-part series on the future of Adobe and what that means for indie filmmakers.
August 22, 2015, 2:20 am
This month saw the European film industry sign a declaration for gender equality, and for women to fill more film crew roles. We take a look at the gender disparities within the film industry where only 2% of directors are women.
May 22, 2015, 2:12 am
Sitting at the feet of master VFX artists, Guest writer Lex de Vroomen tells us what he learnt about the creation of Groot & Rocket from 'Guardians of the Galaxy', the practical on-set effects on 'Interstellar' and the creative pipeline of a photo-realistic CG orangutan. This is a great read!
January 27, 2015, 8:45 pm
Why does the colour of light get cooler as the colour temperature increases? If Lee 201 Full CT Blue converts 3200K tungsten light to 5700K daylight, why do two layers of 201 (or one layer of Lee 200 Double CT Blue) convert the same 3200K light to 26,000K? Is it actually possible to predict the outcome of combining correction filters?
January 27, 2015, 8:44 pm
The use of practical effects is a somewhat lost art in traditional filmmaking these days. Computer rendered effects are often far cheaper to source and don’t require set or crew time. But does the technological advancement in visual effects and its prolific use in cinema, come with a cost to the magic of movies?
January 27, 2015, 8:43 pm
will say up front: I am a terrible director. I’ve tried it, and I’m not so proud of the results. So why listen to my advice about how to be good at directing fiction projects? Because I’ve edited a few, and I think people in post-production, particularly editors, are in the best position to know what is needed to achieve the best film possible.
Celia Haining, editor of The Crown, joins Gordon Burkell to discuss editing for story.
The filmmakeru.com team explores the history of color in film in our series Birth of an Art. From coloring in single frames ...
Gordon sits down with Ivan Victor to discuss his work editing 68 Whiskey.
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