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  1. I was going to put this in the Off Topic section, since it is historical in nature. But looks like that section is shut down as I can't access or view it any longer. So, this section looks like the most apropos section to put it in. This may have some interest for the cinematographer that is trying to recreate an old look for titles/ intertitles for a project. Back in the day, magazines dedicated to the home movie market, would have a page or two of premade titles in each issue for them to use in their movies. The person would set up a copy stand with close up lens diopter and shoot the premade titles / intertitles for their film. Sometimes the titles would be generic. Other times they would be for a suggested project. These are from 1940. I've got about 2 feet of 'Home Movies,' 'Cine' Photographer' & 'Movie Maker' magazines from the 1930's-1940's to scan. I will eventually upload them to the Internet Archive. Lots of interesting film history in them. <><><><> Daniel D. Teoli Jr. Archival Collection Daniel D. Teoli Jr. Small Gauge Film Archive Daniel D. Teoli Jr. Advertising Archive Daniel D. Teoli Jr. VHS Video Archive Daniel D. Teoli Jr. Popular Culture Archive Daniel D. Teoli Jr. Audio Archive Daniel D. Teoli Jr. Social Documentary Photography
  2. Hello! I am selling my Baselight TWO system with BlackBoard One version 4.4.6689 24TBx 2 40TB net storage GTX 680 Graphics Card, the system has no support from filmlight but is in good working condition and suitable for learning and working and Sony Monitor Pvm-x300 30 inch monitor. The reason for the sale is the relocation of my family to another EU country. For any more info please contact me. idproductional@gmail.com Thank you Bledi
  3. Hi all!New to this forum, excited to chat and learn from the experts!My question involves syncing two channel/track audio to video in FCPX.I'm capturing dialogue/sound (it's a cooking show) using two Sennheiser wireless lav mics connected to a Zoom H4N recorder. Each subject/host has her own transmitter and receiver.I'm looking for the cleanest/most efficient way to sync this sound to the video while being able to work on each individual mic and mix the two as needed.Here's what I've discovered so far:1) If I set the Zoom record mode to stereo I get one file and left/right channels. If I sync this audio clip to the video footage manually, I'm able to change it to dual mono channels and edit each mic separately. Noice.BUT! When I use Sync clips it no longer allows me to change the mode and work with each mic individually - kind of feels like the FCPX sync clip(s) function flattens everything into a single mono track. Not so noice.Alternatively:2) If I set the Zoom record mode to Multitrack (MTR) I get two separate mono files, one for each mic. BUT! It doesn't work well to try to sync the footage with both audio tracks. It really only seems to work when I sync the video footage with one of the audio tracks and then attach the 2nd audio track in the timeline. Because there are so many variables, I want to make sure I'm not missing something. Is there a way to capture dual track/channel sound and sync it up in one go while maintaining separate channels?Thank you for the help, would love to hear your thoughts!One thing I will ask is that any advice offered work with the stuff I have right now as I can't afford to add more gear.Daniel
  4. Hi all!New to this forum, excited to chat and learn from the experts!My question involves syncing two channel/track audio to video in FCPX.I'm capturing dialogue/sound (it's a cooking show) using two Sennheiser wireless lav mics connected to a Zoom H4N recorder. Each subject/host has her own transmitter and receiver.I'm looking for the cleanest/most efficient way to sync this sound to the video while being able to work on each individual mic and mix the two as needed.Here's what I've discovered so far:1) If I set the Zoom record mode to stereo I get one file and left/right channels. If I sync this audio clip to the video footage manually, I'm able to change it to dual mono channels and edit each mic separately. Noice.BUT! When I use Sync clips it no longer allows me to change the mode and work with each mic individually - kind of feels like the FCPX sync clip(s) function flattens everything into a single mono track. Not so noice.Alternatively:2) If I set the Zoom record mode to Multitrack (MTR) I get two separate mono files, one for each mic. BUT! It doesn't work well to try to sync the footage with both audio tracks. It really only seems to work when I sync the video footage with one of the audio tracks and then attach the 2nd audio track in the timeline. Because there are so many variables, I want to make sure I'm not missing something. Is there a way to capture dual track/channel sound and sync it up in one go while maintaining separate channels?Thank you for the help, would love to hear your thoughts!One thing I will ask is that any advice offered work with the stuff I have right now as I can't afford to add more gear.Daniel
  5. Hi guys, im new here, and i'd like some advice. I own a Canon 6d + 24-105mm, and i'm going to shoot a music video for a hip hop/trap artist. I've only shot a hardcore punk music video, and it was very fast paced and with several cuts. This time it seems to be different. Upon searching references, such as Post Malone, Travis Scott, etc, most, if not all videos rely heavily on slow motion scenes. Even the song the artist sent me is much calmer and sort of romatic than the others. But since the 6d can't shoot faster than 30fps at 1080p (if can with magic lantern, but the tests i made didn't turn up so good), i'm looking for alteranatives, and i strongly believe that the lack of resources boosts creativity and this might just allow me to create something different (I'm thinking different cuts, camera movements, etc) For instance, the artist want a scene with a woman in a white wolf mask at the beach at nightfall, kind of abstract, symbolic. And unfortunetely i can only thing of this in slow motion, but i'm sure it's just that i can find the right inspiration. I've been searching for movie scenes and music videos that could inspire me to have more ideas, and honestly i feel like slow motion is overrated and overused these days in music videos, so i'd like to move away from that but still keep this sort of poetic, emotional, abstract feel. Could you guys share some videos, scenes, thoughts, techniques and ideas that could work in a more symbolic and meatphorical scenario? I'll keep reading the forum and searching for more inspiration, but on google it's hard to find anything that DOESN'T involve slow motion when i search this subject. Thanks in advance! Cassiano.
  6. Dear cinematography community, I have build my self a good pc system for various tasks such as: editing, color grading etc. My main fast hard drive for projects was a 1Tb M.2 SSD. It has been working really good (maybe a bit overkill). Now I ran in to a problem that most of the projects I work on are bigger than 1Tb and now I need a new solution for a fast storage system / drive to do editing and color grading with big RAW files. I have been looking into the Samsung 4Tb SSD (2.5") which would work but if a project is just a little over 4Tb than that would not work. So does anybody have a good solution to this problem? It needs to be fast and not too expensive. Maybe something like a Hard Drive Raid System where I can stick 4 hard drives with a total of 8Tb and connect that to my pc via thunderbolt or usb-c? My pc does not have thunderbolt connection but I think there are some expansion cards out there? After a projects is done, it gets archived on a other drive. Would love to hear from you guys! Best Thomas.
  7. Hey everybody! As newcomer to the film, I released my first short film "The Whistle" two years ago. The short film hits the 500k clicks relatively quickly. I invested another year to write a story and create a second part. At the end of 2018, I shot the second part of the "The Whistle" series. Even this already counts 700k clicks on Youtube and became thus a worthy successor. In January, my latest low-budget project has started: "THE WHISTLE 3 | MARIA". It was a big challenge for me and my friends. A lot of time flowed into the post-processing because I wanted to create a completely new world and jump back to the year 1870. I took a big step forward and would like to present the result I really hope you like it: BTW: I created a VFX Breakdown to this horror short film to show what's behind my low budget production:
  8. Basically, I have adobe premiere pro and a terrible computer. Well, not necessarily terrible but the video card is not up to par, and at the moment I can't upgrade for another couple of months. I know about Adobe elements, which I've heard is a scaled down version of PP. I've also read about some free ones like filmora. Now, I have no problem paying for software, hence the monthly subscription, I just need something to edit traditional cinema (narrative shorts and drama). I might scale down to premiere elements if itll be better on my video card but if there's an even less system intense program, please let me know. The thing right now is I cant edit anything without the timeline being choppy and stuttery as soon as I apply a single LUT or adjust the blacks.
  9. RED Digital Cinema® released its RED R3D® SDK and accompanying REDCINE-X PRO® software with accelerated decode and debayering on NVIDIA CUDA® platforms. By offloading the compute-intensive decoding and debayering of RED R3D files onto one or more NVIDIA GPUs, real-time playback, edit and color grade of 8K footage is now possible. Benefits and efficiencies of this new software-hardware combination during the post-production process include: • 8K real-time 30 fps or greater playback performance • Up to 10x faster transcoding, depending on the format and content • Improved efficiencies and quality control within the content review process • Creative freedom using flexible R3D files instead of proxy files 8K performance is available with NVIDIA Quadro® RTX™ 6000 and 8000, GeForce® RTX™ 2080 Ti and TITAN RTX™ GPUs when coupled with a moderately configured PC. Creators can achieve additional performance improvements with multi-GPU configurations and may see noticeable gains even with older NVIDIA GPUs. Also, new NVIDIA RTX laptops from the world’s leading computer manufacturers, including Razer, Acer, Alienware, ASUS, Dell, Gigabyte, HP, Lenovo, MSI and Samsung, provide real-time playback at up to 8K and offer flexibility in choosing the right tools to fit a variety of budgets. Support from major NLEs and other SDK integrators is expected soon.
  10. Hi! I'm from Russia and my English is not that great, so if you see any mistakes, just let it go) Lil bit about the work. I really wanted to shoot a music clip, because I love watching them and it's a cool spot to start developoing cinematography skills. We had no budget and because of that I decided to make a street video. So I just rented a GH5s and a 12-60 mm lens for it and that's it. Of course I had an idea! 1) to make the color contract between bright blue and yellow and make these colors the main colors for the work. 2) to shoot the video against the background of post-war Soviet architecture as a way to emphasize the lyrics. (The song is about achievements that are usually based on pain and post-war architecture is a great example of it) Obviously, I was inspired by Dexter Navy's works and it's not a good thing, because my main reference was in the same creative field as I am! Also, I'm a newbie and it's literally my first experience. So I decided to take a piece that I could swallow. It was the reason why I decided to make the video without plot, because it would bring a new level of difficulty for which I was too greeny. I mean for me it's better to take a challenge that it's difficult enough that you would grow and learn, but not that difficult that it would crush you. And you know, I've learned alot! I did mistakes in shooting and editing, that I will never do anymore and I've learned something about my self, so overall It was a great experience! I will glad to hear any feedback from you. What you like or don't. What I could do better or just give me your thoughts about it! Aslo you can check the project for this work on behance))
  11. Greeting everyone. I wonder if you guys can help me for getting the right iMac for editing Arri footage. I own an Arri Alexa XT and a Codex's reader with USB cable. There are some stores with used iMac's with very decent price tags and maybe you can tell me what specifications I should look for speedy editing. I am aware of the USB port which comes with the new iMac's with Retina display, but thanks to an adapter I can use an older model to do the job. I was thinking of an iMac 21.5" Core i5 2.7GHz, 1 TB HDD, 8 GB RAM. Is that a prudent choice? Thank you. Best, Chris
  12. The 13th annual Hollywood Professional Association (HPA) Awards took place tonight, honoring the accomplishments of industry luminaries, behind-the-scenes artists and outstanding engineering teams. The HPA Awards set the bar for creative and technical achievement, recognizing individuals and companies for outstanding contributions made in the creation of feature films, television, commercials, and entertainment content enjoyed around the world. Awards were given to talented individuals and teams working in twelve creative craft categories, including color grading, sound, editing and visual effects for commercials, television and feature film. Victoria Alonso, EVP Production of Marvel, was honored with the HPA Charles S. Swartz Award, and special awards were presented for Engineering Excellence. The many social movements, including #metoo, of the past year that effectively harnessed the power of technology to bring positive change to our industry were also acknowledged during the show. The winners of the 2018 HPA Awards are: Creative Categories Outstanding Color Grading – Feature Film WINNER: “Alpha” Maxine Gervais // Technicolor – Hollywood “Avengers: Infinity War” Steven J. Scott, Charles Bunnag // Technicolor – Hollywood “Red Sparrow” Dave Hussey // Company 3 “The Shape of Water” Chris Wallace // Deluxe – Toronto “The Greatest Showman” Tim Stipan // Company 3 Outstanding Color Grading – Television WINNER: “The Crown – Paterfamilias" Asa Shoul // Molinare “Damnation – Sam Riley’s Body” Paul Allia // Picture Shop “The Marvelous Mrs. Maisel – Pilot” Steven Bodner // Light Iron “Game of Thrones – Beyond the Wall” Joe Finley // Sim “The Crossing – Pilot” Tony Smith // Picture Shop Outstanding Color Grading – Commercial WINNER (TIE): Volkswagen – "Kids’ Dreams" Adam Scott // The Mill WINNER (TIE): Zara – "Spring/Summer 2018 Main" Tim Masick // Company 3 Bottega Veneta – "Spring/Summer 2018 Trailer" Tim Masick // Company 3 Tile – "Lost Panda" Tom Poole // Company 3 Audi – "Final Breath" Sofie Borup // Company 3 Outstanding Editing – Feature Film Sponsored by Blackmagic Design WINNER: “A Quiet Place” Christopher Tellefsen, ACE “Coco” Steve Bloom “You Were Never Really Here” Joe Bini “Mission: Impossible – Fallout” Eddie Hamilton, ACE “Believer” Demian Fenton Outstanding Editing – Television (30 Minutes and Under) Sponsored by Blackmagic Design WINNER: “VICE – After the Fall” Kelly Kendrick // Vice “The End of the F***ing World – Episode One” Mike Jones “Vida – Episode 6” JoAnne Yarrow “Barry – Chapter Eight: Know Your Truth" Kyle Reiter “Vice Principals –The Union of the Wizard and The Warrior" Justin Bourret Outstanding Editing – Television (Over 30 Minutes) Sponsored by Blackmagic Design WINNER: “The Defiant Ones – Part 2” Doug Pray, Lasse Järvi “Stranger Things – Chapter Nine: The Gate” Kevin D. Ross, ACE “Game of Thrones – The Dragon and the Wolf” Crispin Green “Westworld – The Passenger” Anna Hauger, Mako Kamitsuna, MPEG, Andrew Seklir, ACE “Counterpart – The Crossing" Dana E. Glauberman, ACE Outstanding Sound – Feature Film WINNER: “The Shape of Water” Christian Cooke, Brad Zoern, Nelson Ferreira, Nathan Robitaille // Deluxe - Toronto “Ant-Man and The Wasp” Katy Wood, Addison Teague, Juan Peralta, Tom Johnson // Skywalker Sound “Avengers: Infinity War” Shannon Mills, Tom Johnson, Juan Peralta, Dan Laurie // Skywalker Sound “Blade Runner 2049” Mark Mangini, Ron Bartlett, Theo Green, Doug Hemphill, Mac Ruth // Formosa Group “Black Panther” Benjamin A. Burtt, Steve Boeddeker, Brandon Proctor // Skywalker Sound Outstanding Sound – Television WINNER: “Altered Carbon – Out of The Past” Brett Hinton, Mark Allen, Owen Granich-Young, Andy King, Keith Rogers // Atomic Sound “Yellowstone – Daybreak” Alan Robert Murray, Tim LeBlanc, Dean Zupancic // Warner Bros. “Waco – Operation Showtime” Craig Mann, Kelly Oxford, Laura Wiest, Karen Vassar Triest, David Brownlow, Beau Borders // Technicolor – Hollywood “Dark – Secret” Alexander Würtz, Achim Hofmann, Jorg Elsner, Christian Bichoff // ARRI Media GmbH Ansgar Frerich // Basis Berlin “Yellowstone – Kill the Messenger” Alan Robert Murray, Tim LeBlanc, Dean Zupancic // Warner Bros. Outstanding Sound – Commercial WINNER: OXFAM – “The Heist No One is Talking About” Neil Johnson // Factory Studios KIA – “Fueled by Youth” Nathan Dubin // Margarita Mix SANE – “Let Me Talk” Anthony Moore, Jack Hallett // Factory Studios Monster – “Opportunity Roars” Tom Jucarone // Sound Lounge ICRC – “Hope” Anthony Moore // Factory Studios Outstanding Visual Effects – Feature Film WINNER: “Avengers: Infinity War” Matt Aitken, Charles Tait, Paul Story, Sidney Kombo-Kintombo, Marvyn Young // Weta Digital “Maze Runner: The Death Cure” R. Christopher White, Daniel Macarin, Phillip Leonhardt, Paul Ramsden, Jeremy Fort // Weta Digital “Blade Runner 2049” Richard Clegg, Axel Akesson, Wesley Chandler, Stefano Carta, Ian Cooke-Grimes // MPC “Rampage” Erik Winquist, Benjamin Pickering, Stephen Unterfranz, Thrain Shadbolt, David Clayton // Weta Digital “Thor: Ragnarok” Kyle McCulloch, Alexis Wajsbrot, Ben Loch, Harry Bardak // Framestore Outstanding Visual Effects – Television (Under 13 Episodes) WINNER: “Game of Thrones – Beyond The Wall” Joe Bauer, Steve Kullback, Ted Rae // HBO Eric Carney // The Third Floor David Ramos // El Ranchito “Altered Carbon – Out of The Past” Everett Burrell, Tony Meagher, Steve Moncur, Christine Lemon, Paul Jones // DNEG “Outlander – Eye of The Storm” Richard Briscoe // Outlander Production Daniel Norlund, Filip Orrby // Goodbye Kansas Aladino Debert, Greg Teegarden // Digital Domain “Black Mirror – Metalhead" Russell McLean // House of Tomorrow Michael Bell, Pete Levy, Steven Godfrey, Stafford Lawrence // DNEG “Westworld – The Passenger” Jay Worth, Bruce Branit // Deep Water FX Bobo Skipper // Important Looking Pirates Kama Moiha // COSA VFX Mike Enriquez // DNEG Outstanding Visual Effects – Television (Over 13 Episodes) WINNER: “Agents of SHIELD – Orientation: Part 1” Mark Kolpack, Sabrina Arnold // Marvel Kevin Yuille, David Rey, Hnedel Maximore // FuseFX “Supergirl – For Good” Armen V. Kevorkian, Gevork Babityan, Kris Cabrera, Jerry Chalupnik, Jason Shulman // Encore VFX “Hawaii Five-O – A’ole e ‘olelo mai ana ke ahi ua ana ia” Adam Avitabile, Daniel Toomey, Michael Kirylo, Ryan Smolarek, Wayne Hollingsworth // Picture Shop “Legends of Tomorrow – The Good, The Bad and The Cuddly” Armen V. Kevorkian, Andranik Taranyan, Jason Shulman, Dan Aprea, Lycee Anaya // Encore VFX “NCIS: LA – A Line in the Sand/Ninguna Salida" Dylan Chudzynski, Michael Carter, Joe Suzuki, Jacob Kuhne // DigitalFilm Tree The following special awards, which were previously announced, were also presented this evening: HPA Engineering Excellence Award The winners of the 2018 HPA Award for Engineering Excellence are: · Blackmagic Design - DaVinci Resolve 15 DaVinci Resolve 15, released at NAB this year, offers a major step forward for the post-production workflow, a significant shift in technically and creatively matched toolsets as well as overall efficiency. The platform, designed to provide a full suite of post-production tools, from ingest to delivery, directly integrated in a single ecosystem, includes significant improvements in quality, functionality and time to delivery. Exchange formats, translation and conform can be eliminated, and last-minute change efficiently managed for feature film, episodic TV and short form productions. · Canon - Visual and Technical Monitoring of HDR Images Canon has seen the need for not only visually seeing HDR images on set, in editorial, and in finishing but also for engineering tools to know exact values of the HDR images and its pixels; compare SDR and HDR images; compare different HDR deliverable systems; out of gamut warnings; and connection to various manufacturers camera metadata. This complete system from Canon ensures that HDR and SDR image creation is easily and accurately be accomplished. · Cinnafilm, Inc. – PixelStrings PixelStrings is a cloud-based video conversion service focusing on ultimate playback quality for media. Leveraging the award-winning framerate conversion, retiming, artifact/noise/telecine correction, and transcode technologies from Cinnafilm, this PaaS enables the mass creation of best-possible video versions while leveraging infinite, GPU-enabled cloud compute power. The platform is a growing hub of other best-of-breed media technologies and is a simple pay-as-you-use toolset available 24/7 though a browser. PixelStings enables the freedom of a predictable OpEx process. · IBM Aspera & Telestream - Telestream Vantage with Lightspeed Live Capture IBM Aspera and Telestream have developed a game-changing solution for high-speed capture and production of live, broadcast quality video from remote locations for faster production turnaround. The API integration of Aspera’s FASPStream streaming technology with Telestream Vantage and Lightspeed Live enables open-file workflows so production teams can work on live video feeds from remote locations in real time, with dramatically lower costs compared to satellite delivery, fiber or on-location production and more flexible deployment options. The HPA Engineering Excellence Award is recognized as one of the most important technology honors in the industry, spotlighting companies and individuals who draw upon technical and creative ingenuity to develop breakthrough technologies. Submissions for this peer-judged award may include products or processes and must represent a step forward for its industry beneficiaries. Honorable Mention was awarded to Samsung for Samsung Onyx. Charles S. Swartz Award The Charles S. Swartz Award is awarded to a person, group, or company that has made a significant artistic, technological, business or educational impact across diverse aspects of the media industry. The award recognizes broad, impactful and lasting contributions that have advanced and/or provided some unique purpose to the larger media content ecosystem. This year’s honoree is Victoria Alonso, respected producer and Executive Vice President, Production for Marvel Studios. More information about the HPA Awards and the Hollywood Professional Association can be found at http://www.hpaonline.com/. The HPA Awards, which are produced by Homerun Entertainment, are made possible through the generous sponsorship of Diamond Title Sponsor Blackmagic Design; Platinum Sponsor IMAX; Bronze Sponsors Avid and Sony Pictures Post; and Foundation Members Avid, Dolby, EFILM, Encore, and Stereo D.
  13. The Hollywood Professional Association (HPA) has announced the 2018 nominees for the HPA Awards creative categories. The Awards are considered the standard bearer for creative excellence and technical innovation in an industry embracing an expanding array of groundbreaking technologies and creativity, honoring achievement and artistic excellence by individuals and teams who bring stories to life and outstanding content to audiences around the world. Launched in 2006, the HPA Awards recognize outstanding achievement in editing, sound, visual effects and color grading for work in television, commercials, and feature films. The winners of the 13th Annual HPA Awards will be announced at a gala ceremony on 15 November 2018 at the Skirball Cultural Center in Los Angeles, CA. Outstanding Color Grading – Feature Film “Avengers: Infinity War” Steven J. Scott, Charles Bunnag // Technicolor – Hollywood “Red Sparrow" Dave Hussey // Company 3 “The Shape of Water” Chris Wallace // Deluxe – Toronto “Alpha” Maxine Gervais // Technicolor – Hollywood “The Greatest Showman” Tim Stipan // Company 3 Outstanding Color Grading – Television “Damnation – Sam Riley’s Body” Paul Allia // Picture Shop “The Marvelous Mrs. Maisel – Pilot” Steven Bodner // Light Iron “The Crown – Paterfamilias" Asa Shoul // Molinare “Game of Thrones – Beyond the Wall” Joe Finley // Sim “The Crossing – Pilot” Tony Smith // Picture Shop Outstanding Color Grading – Commercial Bottega Veneta – "Spring/Summer 2018 Trailer" Tim Masick // Company 3 Tile – "Lost Panda" Tom Poole // Company 3 Volkswagen – "Kids Dream" Adam Scott // The Mill Audi – "Final Breath" Sofie Borup // Company 3 Bottega Veneta – "Spring/Summer 2018 Main" Tim Masick // Company 3 Outstanding Editing – Feature Film Sponsored by Blackmagic Design “A Quiet Place” Christopher Tellefsen, ACE “Coco” Steve Bloom “You Were Never Really Here” Joe Bini “Mission: Impossible – Fallout” Eddie Hamilton, ACE “Believer” Demian Fenton Outstanding Editing – Television (30 Minutes and Under) Sponsored by Blackmagic Design “The End of the F***ing World – Episode One” Mike Jones “Vida – Episode 6” JoAnne Yarrow “VICE – After the Fall” Kelly Kendrick // Vice “Barry – Chapter Eight: Know Your Truth" Kyle Reiter “Vice Principals –The Union of the Wizard and The Warrior" Jeff Seibenick Outstanding Editing – Television (Over 30 Minutes) Sponsored by Blackmagic Design “Stranger Things – Chapter Nine: The Gate” Kevin D. Ross, ACE “The Defiant Ones – Part 2” Doug Pray, Lasse Järvi “Game of Thrones – The Dragon and the Wolf” Crispin Green “Westworld – The Passenger” Anna Hauger, Mako Kamitsuna, MPEG, Andrew Seklir, ACE “Counterpart – The Crossing" Dana E. Glauberman, ACE Outstanding Sound – Feature Film “Ant-Man and The Wasp” Katy Wood, Addison Teague, Juan Peralta, Tom Johnson // Skywalker Sound “The Shape of Water” Christian Cooke, Brad Zoern, Nelson Ferreira, Nathan Robitaille // Deluxe - Toronto “Avengers: Infinity War” Shannon Mills, Tom Johnson, Juan Peralta, Dan Laurie // Skywalker Sound “Blade Runner 2049” Mark Mangini, Ron Bartlett, Theo Green, Doug Hemphill, Mac Ruth // Formosa Group “Black Panther” Benjamin A. Burtt, Steve Boeddeker, Brandon Proctor // Skywalker Sound Outstanding Sound – Television “Yellowstone – Daybreak” Allan Murray, Tim LeBlanc, Dean Zupancic // Warner Bros “Waco – Operation Showtime” Craig Mann, Kelly Oxford, Laura Wiest, Karen Vassar Triest, David Brownlow, Beau Borders // Technicolor – Hollywood “Dark – Secret” Alexander Wurtz, Achim Hofmann, Jorg Elsner, Ansgar Frerich, Christian Bichoff // Basis Berlin “Yellowstone – Kill the Messenger” Allan Murray, Tim LeBlanc, Dean Zupancic // Warner Bros. “Altered Carbon – Out of The Past” Brett Hinton, Mark Allen, Owen Granich-Young, Andy King, Keith Rogers // Atomic Sound Outstanding Sound – Commercial OXFAM – “The Heist No One is Talking About” Neil Johnson // Factory Studios KIA – “Fueled by Youth" Nathan Dubin // Margarita Mix SANE – “Let Me Talk” Anthony Moore, Jack Hallett // Factory Studios Monster – “Opportunity Roars” Tom Jucarone // Sound Lounge ICRC – “Hope” Anthony Moore // Factory Studios Outstanding Visual Effects – Feature Film “Maze Runner: The Death Cure” R. Christopher White, Daniel Macarin, Philip Leonhardt, Paul Ramsden, Jeremy Fort // Weta Digital “Blade Runner 2049” Richard Clegg, Axel Akesson, Wesley Chandler, Stefano Carta, Ian Cooke-Grimes // MPC “Rampage” Erik Winquist, Benjamin Pickering, Stephen Unterfranz, Thrain Shadbolt, David Clayton // Weta Digital “Thor: Ragnarok” Kyle McCulloch, Alexis Wajsbrot, Ben Loch, Harry Bardak // Framestore “Avengers: Infinity War” Matt Aitken, David Conley, Charles Tait, Paul Story, Marvyn Young // Weta Digital Outstanding Visual Effects – Television (Under 13 Episodes) “Altered Carbon – Out of The Past” Everett Burrell, Tony Meagher, Steve Moncur, Christine Lemon, Paul Jones // DNEG “Outlander – Eye of The Storm" Richard Briscoe // Outlander Production Daniel Norlund, Filip Orrby // Goodbye Kansas Aladino Debert, Greg Teegarden // Digital Domain “Black Mirror – Metalhead" Russel McLean, Michael Bell, Pete Levy, Steven Godfrey, Stafford Lawrence // DNEG “Game of Thrones – Beyond The Wall” Joe Bauer, Steve Kullback, Ted Rae, Eric Carney // HBO David Ramos // El Ranchito “Westworld – The Passenger” Jay Worth, Bruce Branit // Deep Water FX Bobo Skipper // Important Looking Pirates Kama Moiha // COSA VFX Mike Enriquez // DNEG Outstanding Visual Effects – Television (Over 13 Episodes) “Supergirl – For Good” Armen V. Kevorkian, Gevork Babityan, Kris Cabrera, Jerry Chalupnik, Jason Shulman // Encore VFX “Agents of SHIELD – Orientation: Part 1” Mark Kolpack, Sabrina Arnold // Marvel Kevin Yuille, David Ray, Hnedel Maximore // FuseFX “Hawaii Five-O – A’ole e ‘olelo mai ana ke ahi ua ana ia” Adam Avitabile, Daniel Toomey, Michael Kirylo, Ryan Smolarek, Wayne Hollingsworth // Picture Shop “Legends of Tomorrow – The Good, The Bad and The Cuddly” Armen V. Kevorkian, Andranik Taranyan, Jason Shulman, Dan Aprea, Lycee Anaya // Encore VFX “NCIS: LA – A Line in the Sand/Ninguna Salida" Dylan Chudzynski, Michael Carter, Joe Suzuki, Jacob Kuhne // DigitalFilm Tree As previously announced, Victoria Alonso has been named the recipient of the Charles S. Swartz Award. Alonso is a respected producer and is Executive Vice President, Production for Marvel Studios. The winners of the coveted Engineering Excellence Award, Blackmagic Design (DaVinci Resolve 15), Canon (Visual and Technical Monitoring of HDR Images), Cinnafilm, Inc. (PixelStrings), and IBM Aspera & Telestream (Telestream Vantage with Lightspeed Live Capture powered by Aspera), were announced earlier this year. All awards will be bestowed at the HPA Awards gala. The HPA Awards gala ceremony is expected to be a sold-out affair and early ticket purchase is encouraged. Tickets for the HPA Awards are on sale now, online at www.hpaawards.net or by calling +1 (818) 273-1482. More information about the HPA Awards and the Hollywood Professional Association can be found at www.hpaonline.com or by calling the HPA at +1 (818) 273-1482. The HPA Awards take place with the support of diamond title sponsor Blackmagic Design, platinum sponsor IMAX, bronze sponsors Avid and Sony Pictures Post Production Services, supporting sponsors Cinionic, EFILM, FuseFX, Sim, Stephen Arnold Music, and Wipster, and foundation members Avid, Dolby, Efilm, Encore, and Deluxe. For sponsorship information, contact Joyce Cataldo at jcataldo@hpaonline.com.
  14. For all the editors who are hiding out in this forum :ph34r: ....I was wondering if film is actually cheaper to once you got to post than video. Specifically, can you outline the difference in workflow between a Super16mm workflow vs shooting in 4k(or even 2k) and finishing on the accepted digital projection format(or 35mm)? My guess is that film would come out a bit cheaper and easier to manage for the beginner. Quite counter-intuitive I know, but digitial non-linear editing appears to be a black hole which swallows all of your budget.$10K! I'm betting that a 10:1 shooting ratio on Super16, comes out cheaper than a shoot-it-'til-people-threaten-to-leave:1 shooting ratio on video. Can anyone comment on this?
  15. Hello All! New to this forum so I'm not sure if this is the right section to post this. We will be doing a documentary for a philanthropic women's group. This documentary will be highlighting women who have overcome obstacles and have risen to the top. We are wanting to do a POV scene where someone is looking up at a glass roof from the lobby of an office building and they rise straight up and crash through the glass ceiling. We are thinking a scale model might work as we are not set up to do CGI in the detail they will want. Not sure if this is the right approach. Any ideas how to pull off this shot would be appreciated.
  16. Pacific Post, a full-service editorial equipment rental and services provider, has expanded its footprint with the opening of a new 10,000 square-foot facility in Sherman Oaks. The new location offers 25 spacious Avid suites with 24/7 technical support, alongside a writer’s room and several production offices. Pacific Post has retrofit the entire site which is supported by Avid NEXIS shared storage, 1 gigabyte of dedicated fiber internet connectivity, and individually climate-controlled rooms. “We recently provided equipment and services to the editorial team on Game Over, Man! for Netflix in Sherman Oaks, and continued to receive inquiries from other productions in the area,” says Pacific Post Vice President Kristin Kumamoto. “The explosion we’ve seen in scripted production, especially for streaming platforms, prompted our decision to add this building to our offerings.” Kumamoto notes that a screening room is also near completion for accommodating multiple members of the creative team on a project. It features a 150-inch screen and JVC 4K projector for VFX reviews and an enhanced, in-house viewing experience. Additional amenities at Pacific Post Sherman Oaks include MPAA-rated security, reserved parking, a full kitchen and lounge, VoIP phone systems, a substantial electrical infrastructure. “We are laser focused on serving the needs of the editorial community,” adds Kumamoto. “This expansion provides our high level of services at one convenient location with the technical expertise that clients have come to trust here at Pacific Post.” In addition to this new state-of-the art space, Pacific Post also has facilities in Hollywood and North Hollywood. This third location at 14225 Ventura Boulevard offers a best-in-class option for productions working in the San Fernando Valley area of Los Angeles. For more information, visit www.pacpost.com.
  17. Hello fellow filmmakers! I have been editing in premier and color grading in davinci resolve. Ive actually enjoyed the process more than I thought I would but am curious how to achieve certain moods and tonws. I love the memory type of colors we get in call me by your name during the grass scene how might I achieve that? Overall the film has a very blue tone so how might you suggest I grade more romantic scenes, sad scenes, neutral scenes? Lastly, I have had trouble transferring slow motion from premier to resolve any advice? Thanks so much! Tyrone
  18. hey everyone, I am trying to assemble a montage of sequences shot at 6fps. My intention was to do a step printing kind of thing to produce streaks of cars' taillights in traffic and a sea of people crossing at zebra crossings. Do correct me if I am wrong here. I was thinking of making triplicate copies of every 6 frames and then putting them in linear order to have the desired streaks effect. how can one do this on an fcp. I have some knowledge of editing. the footage was shot at 6 fps and transferred at 24 fps. I wish it was transferred at 6 fps. I will really appreciate some inputs here Prashantt
  19. 27-inch iMac with Retina 5K Display Is this a good move? The base model is about $2300 and while I am doing full HD now, I plan to upgrade to 4K at some point. It's not for a job, but I want a powerful processor and if I can use the cloud and/or a seagate external HD for storage, Perhaps this will do nicely? 3.4GHz quad-core Intel i5 and an AMD Radeon Pro 570 with 4GB video memory. Comes with 8GB of RAM as standard, upgradeable to 32GB. Comes with 1TB hard drive on the base model; up to 2TB Fusion Drive on the high-end model. Thanks! dk
  20. I was looking at PowerDirector 15 and was wondering if there was anything else recommendable out there.
  21. EditFest, the popular day-long celebration of the art and craft of editing, returns to the Frank Wells Theater at Walt Disney Studios on August 12, 2017. Presented by American Cinema Editors (ACE), EditFest 2017 presents top-level film and television editors sharing their experiences and insights. Featuring panels, clips, and conversation, EditFest offers a unique opportunity for attendees to engage with panelists and colleagues throughout the day and during a lively post-event reception. EditFest LA 2017 panels include Women Making the Cut; Breaking Boundaries – Changing the Game in Movies; and The Lean Forward Moment. As announced earlier, Oscar winner Richard Chew, ACE, will go “Inside the Cutting Room,” with noted author and industry insider Bobbie O’Steen. Chew’s extraordinary credits include Star Wars, The Conversation, Risky Business, Singles, Bobby, The Public, and One Flew Over the Cuckoo’s Nest, among many other favorites. This year’s panelists include an esteemed group of editors including Lillian Benson, ACE (Chicago Med, Maya Angelou: And Still I Rise), Jackie Cambas, ACE (Zoot Suit, Mermaids, Cat People), Lisa Zeno Churgin, ACE (Old Man and the Gun, Cider House Rules, Reality Bites), Kelley Dixon, ACE (Breaking Bad, Better Call Saul, The Walking Dead), Edie Ichioka, ACE (Toy Story 2, The Boxtrolls), Virginia Katz, ACE (Bride of Frankenstein, Beauty and the Beast, Dreamgirls), Robert Leighton, ACE (When Harry Met Sally, This is Spinal Tap, The Princess Bride), Chris McCaleb (Breaking Bad, Narcos, Fear the Walking Dead), Terilyn Shropshire, ACE (Eve’s Bayou, The Secret Life of Bees), ACE President Stephen Rivkin, ACE (Avatar, Pirates of the Caribbean, Avatar 2), Paul Rubell, ACE (Blade, The Insider, Transformers, Thor), and Lynn Willingham, ACE (The X-Files, Ray Donovan, Bloodline). Panel moderators include Norm Hollyn, Michael Krulik, Margo Nack, and O’Steen. The day concludes with the EditFest after-party where panelists, attendees, and ACE members mingle over cocktails and hors d’oeuvres. ACE thanks Platinum Sponsor Blackmagic Design and Gold Sponsors Avid and Adobe and the Motion Picture Editors Guild for their generous support of EditFest. Raffle tickets will be available for a chance to win an Avid Media Composer, DaVinci Resolve Software and other great gifts. Proceeds go to the ACE Educational Center and are tax deductible. A creative presentation on DaVinci Resolve will be part of the day’s events. For further information, call +1 818 777 2900 or visit American Cinema Editors. Tickets are available at American Cinema Editors site. Early bird tickets are available until July 21, 2017.
  22. The Hollywood Professional Association (HPA®) has opened its Call for Entries in Creative Categories for the 12th annual HPA Awards. These awards are considered standard-bearing honors for groundbreaking work and artistic excellence, recognizing creative artistry in color grading, editing, sound, and visual effects in feature film, television, and commercials. The HPA Awards shine a spotlight on talent, innovation and engineering excellence in the professional media content industry. The 12th annual gala awards presentation will be held on the evening of November 16, 2017 at the Skirball Cultural Center in Los Angeles, California. Entries are now being accepted in the following competitive categories: Outstanding Color Grading - Feature Film Outstanding Color Grading - Television Outstanding Color Grading - Commercial Outstanding Editing - Feature Film Outstanding Editing - Television Outstanding Editing - Commercial Outstanding Sound - Feature Film Outstanding Sound - Television Outstanding Sound - Commercial Outstanding Visual Effects - Feature Film Outstanding Visual Effects - Television Outstanding Visual Effects - Commercial Entries for the Creative Categories will be accepted between May 15 and July 10, 2017, and Early Bird Entries (reduced entry fee for the Creative Categories) will be accepted through June 12, 2017. To be considered eligible, work must have debuted domestically and/or internationally during the eligibility period, September 7, 2016 through September 5, 2017. Entrants do not need to be members of the Hollywood Professional Association or working in the U.S. As announced previously, the Call for Entries remains open for the Engineering Excellence Award, which will be bestowed at the November gala until May 30th, 2017. Additional special honors, including the HPA Lifetime Achievement Award, will be announced in June. Seth Hallen, President of the HPA and a founding member of the HPA Awards Committee, commented, “The HPA Awards have grown into an unmissable evening, bringing the creative community together. The judging is peer driven, so these honors resonate to winners and nominees alike. In the past 12 years, we have judged and honored the most compelling creative work. And, every year, in every category, the submissions are of the highest caliber. I sincerely encourage individuals and companies to enter the HPA Awards. It’s where we show the world the talent, fierce dedication and hard work behind the story. We look forward to another very special event on November 16th." Complete rules, guidelines and entry information for the Creative Categories and all of the HPA Awards are available at: www.hpaawards.net. For a list of the previous years' winners, click here. The HPA Awards are made possible through the generous sponsorship of Foundation Members Avid, Co3, Deluxe, Dolby, EFILM, and Encore; and Platinum Sponsors IMAX and Sohonet. For sponsorship or program advertising opportunities, contact Jeff Victor at jvictor@hpaonline.com or calling 213.614.0860. Opening of ticket sales will be announced shortly.
  23. Hey everyone! I would love to hear your feedback on my latest film. This was a translation of my time spent in Baltimore and Washington during the trump election. I wanted to show the viewer what it felt like as I was waling through the streets during this incredibly tense time in Americas history. http://www.freshfinishmedia.com/canadian-filmmaker-washington-election/
  24. Does anyone use the many animated transitions that come included with editing software in their moneymaking work? There are dozens of explosions, confetti bursts, peels, wipes, smears, shears, rolls, and flips in my system and I can buy hundreds more online if I want. But I'm pretty much a dissolve guy with the very occasional dip to white or black. Am I just boring and missing opportunities to make my work better? Are any of these transitions useful in ways that I'm not thinking of for enhancing serious documentary or narrative work?
  25. Hello all, About three years ago, I built a computer to do lower-end editing with Premiere and AfterFX. Most of the projects were geared towards my high school AV class, so nothing more than 5 or so minute works with 1080p project files and H.264 codecs. Today, I'm still using the same project files, but I am editing much larger-scale works (15+ minute works, plus incorporating DaVinci Resolve into my workflow). With my most recent project, I have just color graded via Resolve, and I am finding a lot of difficulty in just opening the Premiere file now. Premiere itself crashes quite frequently, there are times when I open the project file and some of the color graded media is "offline" (when it typically isn't), and I have a hard time rendering this footage for preview (due to Premiere constantly crashing). My workflow is this: Import footage into Premiere, match audio & cut it together -> export XML file -> import XML file of Premiere sequence into DaVinci, color grade the shots -> export H.264 file out of DaVinci, import each shot and replace it's counterpart in Premiere in order to begin sound design Here are the specs for my computer: OS: WIndows 7, 64-bit RAM: 8gb CPU: Intel Core i5 4670K Graphics: NVIDIA GeForce GTX 660 So my question is, is this a hardware issue, or something in my workflow?
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