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AVID
Learn Media Composer Lesson 84: Creating DVDs Part 2
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In this lesson, Kevin P McAuliffe talks about encoding your exported Media Composer timelines using Apple's Compressor. This lesson is specifically focused on Editors who have made the switch from Final Cut Pro/Studio to Avid's Media Composer, but still want to get the most out of the applications in the bundle, and not have to use a new third party encoding application. Compressor has some huge workflow enhancements like Droplets, that will make the encoding process a breeze.
Tutorial, Video Tutorial
Kevin P McAuliffe |
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Film History & Appreciation
Star Trek Into Darkness & the Dolby PRM-4200 Monitor
On Star Trek Into Darkness, VFX producer Ron Ames was concerned about standardizing color information between production company Bad Robot and the VFX companies ILM and Pixomondo as well as DI facility Company 3. The solution was installing Dolby's PRM-4200, a professional reference monitor that can be calibrated so that every one shows the exact same color. In this article, Ames and Pixomondo VFX supervisor Ben Grossman talk about how the Dolby Professional Reference Monitor improved the workflow and gave them the confidence that everyone was seeing the same thing.
Editorial, Feature, People / Interview
Debra Kaufman |
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Art of the Edit
How Editors Shaped The Story of Star Trek: Into Darkness
The old saying is that the edit is the final version of the script. For editors Mary Jo Markey, A.C.E. and Maryann Brandon, A.C.E, their work on Star Trek: Into Darkness began far earlier than that -- when they were asked for their advice on how to shape the script in the first place! In conversation with Debra Kaufman, they describe the role they play in the storytelling process itself, in a way that far transcends the cutting of scenes.
Editorial, Feature, People / Interview
Debra Kaufman |
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Broadcasting
WorldStage Collaborates with ESPN Studios for LED Displays
WorldStage, of New York City, has recently designed and integrated 'First of It's Kind' Live, Moving LED display installation for ESPN's premier show, the KIA NBA Countdown, recorded at the Los Angeles Production Center.
This article describes the design and integration requirements implemented by WorldStage, including a unique systems design process and subsequent hardware and software integration coincident with a new studio upgrade for ESPN's studios at the Los Angeles Production Center in Los Angeles, California.
Editorial, Feature, People / Interview
Nicholas Chase |
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Apple Motion
Learn Apple's Motion: Lesson 13 The Canvas Part 8: Particles
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In this lesson, Kevin P McAuliffe gives you an introduction to Particles inside of Motion 5, and shows you how, with a little bit of forethought, you can create 3D particle elements in your compositions. Normally this type of element is created with a third party plug-in, but everything you see in this lesson was created with only the tools you have when Motion 5 is installed.
Tutorial, Video Tutorial
Kevin P McAuliffe |
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Film History & Appreciation
Prime Focus Brings The Last Emperor into 3D
Rumors had buzzed for two years that director Bernardo Bertolucci was interested in converting his masterpiece The Last Emperor to 3D. That became a reality when the 3D version debuted at the Cannes Film Festival. The sensitive job of handling the conversion went to Prime Focus in London, which dedicated hundreds of rotoscope artists, proprietary tools and artistic intention to uphold the intention of the original version. The verdict? Bertolucci called it "beautiful and magical."
Editorial, Feature, People / Interview
Debra Kaufman |
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Film History & Appreciation
Behind the Lens: Rachel Morrison Receives Kodak Vision Award
Cinematographer Rachel Morrison, who photographed the Sundance Grand Jury Prize and Audience Award winner Fruitvale Station, was presented with the Kodak Vision Award at the 2013 Women In Film (WIF) Crystal + Lucy Awards in Los Angeles on June 12. The award is given annually to a female filmmaker with outstanding achievements in cinematography who also collaborates with and assists women in the entertainment industry. Fruitvale Station, directed by Ryan Coogler, tells the story of the 22-year-old Oscar Grant, who is killed by a Bay Area Rapid Transit (BART) policeman on the Fruitvale Station platform.
Editorial, Feature, People / Interview
Rachel Morrison |
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Film History & Appreciation
Restoring Richard III: VistaVision to 4K
When The Film Foundation decided to restore Richard III, the non-profit film preservation organization approached Grover Crisp, Sony Pictures Executive Vice President, Asset Management, Film Restoration & Digital Mastering, Sony Pictures Entertainment. The job was to return the film as close as possible to its original version, which involved restoring over 100 shots. Cineric in New York dug up the missing trims and provided the 4K wet-gate scan, and Crisp brought in MTI Film for much of the restoration, including creating missing frames. Sony Pictures' DI and restoration facility Colorworks finished the job with a careful DI, and the film -- which has been released on BluRay by Criterion -- is expected to have a theatrical release through Janus Films.
Editorial, Feature, People / Interview
Debra Kaufman |
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AVID
Learn Media Composer Lesson 82: Consolidate/Transcode
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In this lesson, Kevin P McAuliffe answers a common question, and that is "What is the difference between Consolidating and Transcoding?". Not only does he explain the difference and show you how easy both are to use, but he also discusses Batch Importing, and how what might seem like the best way to work, isn't.
Tutorial, Video Tutorial
Kevin P McAuliffe |
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Film History & Appreciation
Behind the Lens: Peter Suschitzky & After Earth
British cinematographer Peter Suschitzky, BSC, ASC has shot an astonishing number of films that have become iconic: Privilege (the film that inspired George Lucas to ask him to shoot Star Wars), Star Wars Episode 5 - The Empire Strikes Back, The Rocky Horror Picture Show and every David Cronenberg film since Dead Ringers. He got his career start as a child, fascinated by the dark room work of his father, cinematographer Wolfgang Suschitzky, who shot Get Carter among his other credits, and as a very young man shooting documentaries in Latin America. Most recently, Suschitzky was the first to get his hands on Sony's new F65 cameras, to shoot After Earth.
Editorial, Feature, People / Interview
Peter Suschitzky ASC BSC |
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Film History & Appreciation
The Great Gatsby VFX: Iloura's Valley of the Ashes
In director Baz Luhrmann's The Great Gatsby, one of the more dramatic locations is the Valley of Ashes, a bleak, depressing rubbish dump that the characters pass through on their way between Manhattan and Long Island. Nearly everything there was created by Iloura, an Australian VFX company. Iloura Visual Effects Supervisor Julian Dimsey and Compositor Matt Omond speak with Creative COW about the work they did to create the Valley of Ashes.
Feature, People / Interview
Debra Kaufman |
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Film History & Appreciation
The Great Gatsby VFX: Animal Logic Sets the Scene in 3D
Award-winning, Sydney-based VFX and animation company, Animal Logic delivered 590 shots for the gilt, luxurious and captivating film adaptation of The Great Gatsby. 175 people worked on Gatsby over the course of a year and a half. VFX Producer Ingrid Johnston and VFX Supervisor Andy Brown talk to Creative COW about their work on The Great Gatsby.
Editorial, Feature, People / Interview
Debra Kaufman |
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AVID
CatDV Connects with Avid
Square Box Systems' has just unveiled a CatDV asset management system for integration with Avid nonlinear editors. Pegasus is a premium CatDV client that is based on the CatDV Enterprise product and, in addition to integration with Avid Media Composer, also offers metadata support for RED Epic. With this addition, CatDV now offers support for Avid Media Composer, Adobe Premiere and Apple Final Cut Pro.
Editorial, Feature
Debra Kaufman |
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Blackmagic Design
Arrested Development at Shapeshifter
Shapeshifter in Los Angeles most recently color-corrected and added VFX to ten of the new 15 episodes of the cult TV show Arrested Development. The job came to the full-service post facility almost accidentally, when colorist Randy Coonfield advised the production on how to best round-trip between the company's Avids and its DaVinci Resolve from Blackmagic Design. Since all 15 episodes were released at once, Randy had his hands full, often color-correcting two episodes at a time to make the final push, turning out an entire season in a matter of days.
Here, Randy Coonfield talks to Creative COW about what it took to get this new on-demand season out and streaming.
Editorial, Feature, People / Interview
Randy Coonfield |
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AVID
Learn Media Composer Lesson 81: Multichannel Audio Exports
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In this lesson, Kevin P McAuliffe answers a viewer's e-mail about creating multichannel audio exports. Most people think that this is a hardware limitation for most PC's and Mac's, but Kevin quickly shows you that this is very easy to set up right from within your export settings, and once you have a preset, you can set it and forget it.
Tutorial, Video Tutorial
Kevin P McAuliffe |
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