Art of the Edit
Parenthood in Post Production Part THREE: An Editor Mom
Balancing parenthood and post-production is a challenge for anyone. As it turns out, it's not only possible to balance being a good mother with being a good editor, but it happens a LOT. Women in every kind of video production market from LA to the Heartland to the deep South are providing for their families, making sacrifices, and pursuing their life's passion...and one of them is Monica Daniel.
Editorial, People / Interview
Kylee Peña |
Art of the Edit
Argo's Invisible Effects Create 1970s Tehran
Argo tells the recently declassified true story of six Americans who escaped the 1979 takeover of the US Embassy in Tehran -- by pretending to be filmmakers! With Argo's filmmakers unable to shoot in Iran, audiences travel there through the "invisible effects" created by Method Los Angeles, whose teams provided compelling illusions that serve as the perfect backdrop for this tale of life and death sleight of hand.
Feature
Debra Kaufman |
Art of the Edit
Parenthood in Post Production Part TWO: Modern Director Mom
In Kylee's exploration of having a family in the video industry, she wondered what parenthood looked like to a director. For Kate Chaplin, a writer/director, it turns out that question is just the opposite as it turns from "How do kids fit into my world? to "How have children inspired me to pursue my dreams?". Read Part TWO of this heart-felt series.
Editorial, Feature, People / Interview
Kylee Peña |
Art of the Edit
Parenthood in Post Production Part ONE: Being an Editor Dad
Balancing parenthood and post-production is a challenge for anyone - especially if you decide to make a cross-country move to LA with a two year old in tow. In this interview, freelance editor Tim Wilsbach tells us about how he manages a busy editing career and life at home with his wife and son.
Editorial, Feature, People / Interview
Kylee Peña |
Art of the Edit
Digital Dailies Trim The Bottom Line In Hollywood
Post production continues to adapt to ever-changing workflows. Digital dailies have gone from being a cutting edge technology to nearly de rigeur on the set. These prominent TV/film producers talked about how they've integrated digital dailies into their workflow and how it's improving the creative process and/or the bottom line. For post production companies, it's yet another evolution in technology that requires adaptation and accommodation.
Feature
Debra Kaufman |
Art of the Edit
Editor Alan Edward Bell, A.C.E. on The Amazing Spider-Man
Fresh from cutting "Water for Elephants," Alan Edward Bell takes on the task of coordinating editing for "The Amazing Spider-Man." While focusing on building a unique telling of the story in a highly VFX-present setting, Alan follows the direction of Marc Webb to give movie-goers a more character-driven performance, updated interpretation of the love interest, and a subtle and comfortable 3D experience.
Feature
Alan Edward Bell |
Art of the Edit
Luma Pictures' Prometheus Holograph
Holograms are de rigeur in a sci-fi movie, but in Prometheus, Charlie Holloway steps through one to hand a rose to Elizabeth Shaw, Luma Pictures handled this unique fluid effect as well as placing computer graphics in Shaw's handheld computer.
Feature
Debra Kaufman |
Art of the Edit
Luma Pictures Takes On The Avengers
Luma Pictures took on another Marvel superhero production - The Avengers. Luma completed nearly 200 shots, focusing on creating the interior of the Helicarrier by digitally extending and enhancing a practical set. The company also reprised its role in creating Thor's supernatural armor.
Feature
Debra Kaufman |
Art of the Edit
NVIDIA Introduces Virtualization and Remote Computing
NVIDIA has debuted its VGX platform, which enables many users to access a virtualized desktop and get the same graphics performance on any connected device. The VGX platform, composed of three new technologies, opens up the possibilities of remote collaboration and cloud-based graphics without a loss of power and with low latency. Though still a proof of concept, the new computing paradigm will move into beta this summer, with partnerships in the offing.
Feature
Debra Kaufman |
Art of the Edit
Confessions of a Creative Maniac: Of Wills and Ways
Moving forward into faster and more aggressive technology is no substitute for creative thinking. The simple fact is that we're on the bleeding edge of the sword, we're the ones pushing the whole cart forward with our demands for more speed, more performance, more everything. How much is enough?
Editorial
David Biedny |
Art of the Edit
Company 3 Partners with FutureWorks
Company 3 - a Digital Intermediate powerhouse in Santa Monica, CA - joined forces with FutureWorks, a Mumbai-based post-production facility, in order to offer its color grading services to Bollywood's feature film and commercial clients.
Feature
Debra Kaufman |
TV & Movie Appreciation
These Amazing Shadows: An Editor's Journey
An editor's journey through the films that made America (or, how I stopped worrying and learned to love the B-Roll). These Amazing Shadows, an 88-minute documentary, tells the history and importance of the National Film Registry and cameos some of history's most treasured films as it reveals how early films shaped and revealed a changing nation and why we most need to preserve them for posterity.
Feature, People / Interview
Doug Blush |
Art of the Edit
The Discovery Process
John Lawrence and his team at Image Work Communications are helping clients discover their own stories -- and discovering for themselves how the speed of HP workstations can make a difference when editing on both Mac and Windows.
Feature, People / Interview
John Lawrence |
Art of the Edit
Opening My Mind Has Opened Doors
Richard Harrington describes how he reached the decision to switch from Final Cut Pro to Adobe Premiere Pro and why part of his post-production department is running on Windows.
Feature, People / Interview
Richard Harrington |
Art of the Edit
Giant Dinosaurs, Tiny Budgets
Spielberg? Dinosaurs? Every effects house wanted in -- until they saw the budget. Terra Nova VFX Supervisor Kevin Blank takes us back in time, to the laying of their VFX plans.
Feature
Kevin Blank |
Art of the Edit
Reference Monitors: Busting Myths and Looking Ahead
As toolsets have gone digital, from production through delivery, ensuring image integrity from acquisition to final display is more critical than ever. While the use of reference monitors on set is increasingly common, there is still disagreement over elements as basic as white point. How should producers be accounting for the gaps between monitor sizes, characteristics, and physical settings they’re being viewed in, when so much is still up for grabs as of this November, 2011?
Feature
Debra Kaufman |
Art of the Edit
HBO's Digital Transition
HBO holds the highest reputation for television image quality, often based on an aesthetic very closely tied to their use of film. The stakes as they move toward digital pipelines are especially high as they very carefully consider their next steps, for both production and post.
Feature
Debra Kaufman |
Art of the Edit
Now What? It's a Question We've Been Hearing a Lot Lately.
"As always, we're happy to provide answers from the people actually making the hard decisions about the products and technologies in which they'll be investing their money, their time, and their expertise." Tim Wilson muses on the "End of Film" issue of Creative COW Magazine.
Editorial
Tim Wilson |
Art of the Edit
Marquise Technologies unveils real-time image restoration
Marquise Technologies is introducing what they say is the world's first fully featured color grading solution with real-time image degrain/denoise, stabilization and dust/scratch concealment features. RAIN version 2.5 provides real-time color grading and image restoration of 2D and Stereo 3D material from RED One, RED Epic, ARRI Alexa and DPX.
Feature
Debra Kaufman |
Art of the Edit
Now What? The HDCAM SR Tape Shortage
Shooting the Fall 2011 TV season is already largely tapeless but HDCAM SR has still been the standard for mastering and delivery. What are people doing now in the wake of the SR tape shortage?
Editorial, Feature
Debra Kaufman |
Art of the Edit
Behind the Lens: Cowboys & Aliens & Editors
Creative COW’s Debra Kaufman had a chance to speak with the editor of Cowboys & Aliens, Dan Lebental, who was also Favreau’s editor on Iron Man and Iron Man 2. Cowboys & Aliens stars Harrison Ford as the iron-fisted Colonel Dolarhyde and Daniel Craig as a stranger with no memory of his past in an event film for summer 2011 that crosses the classic Western with the alien-invasion movie in a blazingly original way.
Feature
Debra Kaufman |
Art of the Edit
Anatomy of an Edit Suite
Walter Biscardi of Biscardi Creative Media is often asked about what makes a comfortable and efficient edit suite. After designing five different facilities, each with the same essential design, but each refined and upgraded, we can be assured that Walter knows how to streamline design for an arrangement that works!
Feature
Walter Biscardi |
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