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Found 53 results

  1. 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))
  2. 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.
  3. 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
  4. 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.
  5. 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.
  6. 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?
  7. 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.
  8. 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.
  9. 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
  10. 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
  11. 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
  12. I was looking at PowerDirector 15 and was wondering if there was anything else recommendable out there.
  13. 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.
  14. 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.
  15. 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/
  16. 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?
  17. 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?
  18. Hey everyone I'm here to see whether anyone can help me create this glitchy effect used in Calvin Harris's music video "My Way". Has anyone seen this before? Can anyone can walk me through it or direct me to the application or plugin to recreate this effect?
  19. Hollywood Professional Association Unveils HPA Awards Nominees Creative nominations announced for editing, sound, visual effects and color grading 28 September 2016 (Los Angeles, CA) - The Hollywood Professional Association® (HPA) today announced the nominees for its 2016 HPA Awards. Considered the standard-bearer for excellence and innovation in an industry embracing an expanding array of groundbreaking technologies and creativity, the HPA Awards honor creative achievement and artistic excellence. 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 11th Annual HPA Awards will be announced at a gala ceremony on 17 November 2016 at the Skirball Cultural Center in Los Angeles, CA. The 2016 HPA Award nominees are: Outstanding Color Grading - Feature Film "Carol" John Dowdell // Goldcrest Post Productions Ltd "The Revenant" Steven J. Scott // Technicolor Production Services "Brooklyn" Asa Shoul // Molinare "The Martian" Stephen Nakamura // Company 3 "The Jungle Book" Steven J. Scott // Technicolor Production Services Outstanding Color Grading - Television "Vinyl - E.A.B" Steven Bodner // Deluxe/Encore NY "Fargo - The Myth of Sysiphus" Mark Kueper // Technicolor "Outlander - Faith" Steven Porter // MTI Film "Gotham - By Fire" Paul Westerbeck // Encore Hollywood "Show Me A Hero - Part 1" Sam Daley // Technicolor PostWorks NY Outstanding Color Grading - Commercial Fallout 4 - "The Wanderer" Siggy Ferstl / Company 3 Toyota Prius - "Poncho" Sofie Borup // Company 3 Nascar - "Team" Lez Rudge // Nice Shoes Audi R8 - "Commander" Stefan Sonnenfeld // Company 3 Apple Music - "History of Sound" Gregory Reese // The Mill Pennzoil - "Joyride Circuit" Dave Hussey // Company 3 Hennessy - "Odyssey" Tom Poole // Company 3 Outstanding Editing - Feature Film "The Martian" Pietro Scalia, ACE "The Revenant" Stephen Mirrione, ACE "The Big Short" Hank Corwin, ACE "Sicario" Joe Walker, ACE "Spotlight" Tom McArdle, ACE Outstanding Editing - Television "Body Team 12" David Darg // RYOT Films "Underground - The Macon 7" Zack Arnold, Ian Tan // Sony Pictures Television "Vinyl - Pilot" David Tedeschi "Roots - Night One" Martin Nicholson, ACE, Greg Babor "Game of Thrones - Battle of the Bastards" Tim Porter, ACE Outstanding Editing - Commercial Wilson - "Nothing Without It" Doobie White // Therapy Studios Nespresso - "Training Day" Chris Franklin // Big Sky Edit Saucony - "Be A Seeker" Lenny Mesina // Therapy Studios Samsung - "Teresa" Kristin McCasey // Therapy Studios Outstanding Sound - Feature Film "Room" Steve Fanagan, Niall Brady, Ken Galvin // Ardmore Sound "Eye In The Sky" Craig Mann, Adam Jenkins, Bill R. Dean, Chase Keehn // Technicolor Creative Services "Batman VS Superman: Dawn of Justice" Scott Hecker // Formosa Group Chris Jenkins, Michael Keller // Warner Bros. Post Production Services "Zootopia" David Fluhr, CAS, Gabriel Guy, CAS, Addison Teague // Walt Disney Company "Sicario" Alan Murray, Tom Ozanich, John Reitz // Warner Bros. Post Production Services Outstanding Sound - Television "Outlander - Prestonpans" Nello Torri, Alan Decker // NBCUniversal Post Sound "Game of Thrones - Battle of the Bastards" Tim Kimmel, MPSE, Paula Fairfield, Mathew Waters, CAS, Onnalee Blank, CAS, Bradley C. Katona, Paul Bercovitch // Formosa Group "Preacher - See" Richard Yawn, Mark Linden, Tara Paul // Sony Sound "Marco Polo - One Hundred Eyes" David Paterson, Roberto Fernandez, Alexa Zimmerman, Glenfield Payne, Rachel Chancey // Harbor Picture Company "House of Cards - Chapter 45" Jeremy Molod, Ren Klyce, Nathan Nance, Scott R. Lewis, Jonathan Stevens // Skywalker Sound Outstanding Sound - Commercial Sainsbury's - "Mog's Christmas Calamity" Anthony Moore, Neil Johnson // Factory Save the Children UK - "Still The Most Shocking Second A Day" Jon Clarke // Factory Wilson - "Nothing Without It" Doobie White // Therapy Studios Honda - "Paper" Phil Bolland // Factory Honda - "Ignition" Anthony Moore // Factory Outstanding Visual Effects - Feature Film "Star Wars: The Force Awakens" Jay Cooper, Yanick Dusseault, Rick Hankins, Carlos Munoz, Polly Ing // Industrial Light & Magic "The Jungle Book" Robert Legato, Andrew R. Jones Adam Valdez, Charley Henley // MPC Keith Miller // Weta Digital "Captain America: Civil War" Russell Earl, Steve Rawlins, Francois Lambert, Pat Conran, Rhys Claringbull // Industrial Light & Magic "The Martian" Chris Lawrence, Neil Weatherley, Bronwyn Edwards, Dale Newton // Framestore "Teenage Mutant Ninja Turtles: Out of the Shadows" Pablo Helman, Robert Weaver, Kevin Martel, Shawn Kelly, Nelson Sepulveda // Industrial Light & Magic Outstanding Visual Effects - Television "Supergirl - Pilot" Armen V. Kevorkian, Andranik Taranyan, Gevork Babityan, Elaina Scott, Art Sayan // Encore VFX "Ripper Street - The Strangers' Home" Ed Bruce, Nicholas Murphy, Denny Cahill, John O'Connell // Screen Scene "Black Sails - XXI" Erik Henry // Starz Matt Dougan // Digital Domain Martin Ogren, Jens Tenland, Nicklas Andersson // ILP "The Flash - Gorilla Warfare" Armen V. Kevorkian, Thomas J. Conners, Andranik Taranyan, Gevork Babityan, Jason Shulman // Encore VFX "Game of Thrones - Battle of the Bastards" Joe Bauer, Eric Carney // Fire & Blood Productions Derek Spears // Rhythm & Hues Studios Glenn Melenhorst // Iloura Matthew Rouleau // Rodeo FX Outstanding Visual Effects - Commercial Sainsbury's - "Mog's Christmas Calamity" Ben Cronin, Grant Walker, Rafael Camacho // Framestore Microsoft Xbox - "Halo 5: The Hunt Begins" Ben Walsh, Ian Holland, Brian Delmonico, Brian Burke // Method Studios AT&T - "Power of &" James Dick, Corrina Wilson, Euna Kho, Callum McKeveny // Framestore Kohler - "Never Too Next" Andy Boyd, Jake Montgomery, Zachary DiMaria, David Hernandez // JAMM Gatorade - "Sports Fuel" JD Yepes, Richard Shallcross // Framestore Recipients of a number of special awards have been previously announced by the HPA. Herb Dow, ACE, will be honored with the 2016 Lifetime Achievement Award. Michelle Munson, CEO of Aspera, will receive The Charles S. Swartz Award, and The Mill BLACKBIRD has been tapped to receive the HPA Judges Award for Creativity and Innovation. Winners of the coveted Engineering Excellence Award include Aspera, Grass Valley, RealD and SGO. Grass Valley and Canon USA received Honorable Mention in the Engineering Excellence category. 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 and can be purchased online at www.hpaawards.net. For all inquiries and sponsorship information, call the HPA at +1 (213) 614-0860 or email at info@hpaawards.net. More information about the HPA Awards and the Hollywood Professional Association can be found at www.hpaonline.com. Blackmagic Design, NAB Show, AVID, Company 3, Deluxe, Dolby, EFilm, Encore, IMAX, Sohonet and Sony are among the sponsors of the 2016 HPA Awards. ### About the HPA® Awards The HPA Awards were created to foster awareness and recognize the achievements of the individuals and companies that have contributed to groundbreaking technologies and creative excellence within the professional media content industry, and build involvement in the Hollywood Professional Alliance. The HPA is a partner of the Society of Motion Picture and Television Engineers® (SMPTE®). Information about the HPA Awards is available at http://www.hpaonline.com. The HPA Awards will be presented with generous support from Foundation Members and sponsors. About the Hollywood Professional Association Hollywood Professional Association (HPA) serves the professional community of businesses and individuals who provide expertise, support, tools and the infrastructure for the creation and finishing of motion pictures, television, commercials, digital media and other dynamic media content. Through their partnership with the Society of Motion Picture and Television Engineers® (SMPTE®), the leader in the advancement of the art, science and craft of the image, sound, and metadata ecosystem, the HPA continues to extend its support of the community it represents. Information about the HPA is available at www.hpaonline.com. About the Society of Motion Picture and Television Engineers® (SMPTE®) Winner of an Oscar® and multiple Emmy® Awards, the Society of Motion Picture and Television Engineers® (SMPTE®) is a global leader in the advancement of the art, science, and craft of the image, sound, and metadata ecosystem. A professional membership association that is internationally recognized and accredited, SMPTE advances moving-imagery education and engineering across the communications, technology, media, and entertainment industries. For a century, SMPTE has published the SMPTE Motion Imaging Journal and developed more than 800 standards, recommended practices, and engineering guidelines. Nearly 7,000 members - motion-imaging executives, engineers, creative and technology professionals, researchers, scientists, educators, and students - who meet in Sections worldwide, sustain the Society. Through the Society's partnership with Hollywood Professional Association (HPA®), this membership is complemented by the professional community of businesses and individuals who provide the expertise, support, tools, and infrastructure for the creation and finishing of motion pictures, television programs, commercials, digital media, and other dynamic media content. Information on joining SMPTE is available at http://www.smpte.org/join. Media Contact: ignite strategic communications christine purse | kate eberle +1 818 980 3473 | chris mobile: +1 323 806 9696 chris@ignite.bz | kate@ignite.bz
  20. This is basically an editing exercise, but it was fun to take (mostly) stock and try to make a story, albeit maybe not overwhelmingly original. Still, really fun...
  21. I'm in the midst of reading the David Lean biography which has been fascinating, particularly learning how he started as an Editor (and quickly became regarded as Britain's best by many). I'd strongly recommend it to anyone interested in the man. In conjunction with reading the book I'm taking the time to watch his filmography too, starting with 'In Which We Serve'. I've just finished and one of the things that caught my eye was rippling dissolve effect they use when transitioning from the scenes of the men in the water to the flashbacks. I've tried finding it on YouTube but although the full film is there the quality is not very good. ​If anyone remembers the effect I'm referring to, do you also know how it was done? I've done some research and there seems to be multiple possibilities but I couldn't find anything concrete. Thanks in advance.
  22. I just bought a Sankyo XL-400S from eBay. The problem was that it wasn't included with any manual nor were there any instructions to access one. The first problem is how to load the batteries. I know it takes six 1.5 V batteries, but loading it is a bit of a problem. I'm assuming it's loaded in the handgrip, but it seems like the batteries need to be loaded in a special holder and then stuck into the handgrip. Of course, this is just my guess. I'm wondering if this is true. If it's true, does anyone know where to get the battery holders? Also, does anyone know where to access the manual. It seems like my best bit is to pay $10 for a manual. Also, off topic, but does anyone have recommendations for editing equipment? eBay has a few Kodak presstape splicer kits for a pretty good deal, but I need more recommendations.
  23. It's a long shot, but i figure I would start one for Cleveland. Anybody from the Cleveland or Ohio area?
  24. 11th Annual Industry Honors Shine Spotlight on Excellence in Sound, Editing, Visual Effects and Color May 16, 2016 (Los Angeles, CA) The Hollywood Professional Association (HPA®) has announced the opening of its Call for Entries in the Creative Categories for the 11th annual HPA Awards. These categories, considered the standard bearer for groundbreaking work and artistic excellence, recognize creative artistry in the field of post production. The HPA Awards promote the achievement of talent, innovation and engineering excellence in the larger professional media content industry. The 11th annual gala awards presentation will be held on the evening of November 17, 2016 at the Skirball Cultural Center in Los Angeles, California. The HPA Awards now invite entries 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 16 and July 8, 2016, and Early Bird Entries (reduced entry fee for the Creative Categories) will be taken through June 10, 2016. To be considered eligible, work must have debuted domestically and/or internationally during the eligibility period, September 9, 2015 through September 6, 2016. 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 following special award categories: Engineering Excellence Award HPA Judges Award for Creativity and Innovation These awards will also be bestowed at the November gala. The May 20, 2016 deadline is approaching for entries in these special competitive categories. Additional honors, including the HPA Lifetime Achievement Award, will be announced later this year. Seth Hallen, President of the HPA and a founding member of the HPA Awards Committee, commented, "Over the past 10 years, the HPA Awards have grown to become one of the most important venues of recognition for creative talent in our industry. Considered a standard-bearer, these awards are uniquely meaningful to the winners and nominees since the judging panels are made up of their peers. I heartily encourage individuals and companies that worked on all of the amazing projects from the past year to enter the HPA Awards creative categories. This is our opportunity to shine a light on the talent and effort that goes into bringing stories to life and to the individuals who play such important roles in making it all happen. We look forward to another very special event on November 17th." For a list of the previous years' winners, click here. Complete rules, guidelines and entry information for the Creative Categories and all of the HPA Awards are available at: www.hpaawards.net. The HPA Awards are made possible through the generous sponsorship of Title Sponsor Blackmagic Design; Foundation Members Avid, Co3, Deluxe, Dolby. EFILM, Encore; and Gold Sponsor Sohonet. For sponsorship or program advertising opportunities, contact Mary Vinton or Jeff Victor by visiting HPA Awards website at www.hpaawards.net or calling 213.614.0860. Opening of ticket sales will be announced shortly.
  25. Dear Cinematographers, I have tried splicing super 8 film many times but am nevertheless relatively new to it. Every time, to varying degrees, the presstape or cement splices exhibit a slight perturbation or glare; and so I am wondering, from the need to achieve a moderately professional splice, what is the best method for diminishing this effect? Sincerely Grateful, Kurt Cassidy-Gabhart
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