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by Steve Hullfish

Steve Hullfish has been producing and editing award-winning television since the mid-1980s. He has written four books, countless magazine articles and hosted an Avid training DVD. He has lectured at NAB, DVExpo and the Master Editor seminars. He has edited on Avid since 1992 and was named to Avid's first group of Master Editors. His client list includes: Universal Studios, NBC Television, PBS TV, Turner Networks, The Oprah Winfrey Show, "Investigative Reports" and "Cold Cases" with Bill Kurtis for A&E, Jim Henson Home Entertainment, HIT Enterta...

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The Secret - or not so secret - world of Templates

The Secret - or not so secret - world of Templates

How to be an After Effects imposter for less than $20

By Steve Hullfish | March 31, 2014

Writing about anything on a forum with users as widely varied in their experience as provideocoalition is  a trick. Half the people will say “I never heard of that” and the other half will say – like the Geiko Insurance ads – “Duh! Everybody knows... Read More

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The Art and Science of “THE BIG BANG THEORY”

The Art and Science of “THE BIG BANG THEORY”

Editor Peter Chakos and Assistant Todd Morris discuss their very funny workflow

By Steve Hullfish | March 31, 2014

One of the most popular shows on TV is “The Big Bang Theory.”

I spoke to the editor, Peter Chakos, and his assistant, Todd Morris about how they cut the show.

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The Art of the Cut: “12 Years a Slave” Editor, Joe Walker

The Art of the Cut: “12 Years a Slave” Editor, Joe Walker

An interview that turned into a must-read master class in editing

By Steve Hullfish | March 17, 2014

It’s not often that Hollywood’s stars publicly recognize the great stewardship that an editor of a film has of their performance. But it’s a long journey between what an actor emotes in front of a camera and the reception of that performance by an audience. The director certainly has a strong influence on that performance, but the editor (with the director’s guidance) is the final gatekeeper of the performance the audience sees and the context in which it’s seen.

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Gravity co-Editor and Oscar Winner Mark Sanger Explains His Craft and Style

Gravity co-Editor and Oscar Winner Mark Sanger Explains His Craft and Style

Find out how pre-editing, sound design and working on Avid Media Composer all played a huge role in Gravity

By Steve Hullfish | March 01, 2014

There are very few movies where my curiosity is piqued about how it was edited, but Gravity was one of them. My curiosity was so strong that I pursued this interview for five months, from the release of the movie, until almost Oscar night. Mark Sanger’s fellow editors recognized the... Read More

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MC7 Top Ten List plus detail on new Audio Features

MC7 Top Ten List plus detail on new Audio Features

How to use new Audio features

By Steve Hullfish | June 28, 2013

According to the What’s New Document the list of new stuff in MC7 is 25. I think we can whittle that down a bit by eliminating all of the ISIS-related ones (most people are not on ISIS, though those who ARE on it certainly will find them all critically useful), combining a few similar... Read More

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Missing Link between Canon 5D and Avid

Missing Link between Canon 5D and Avid

How to get THM data into Avid

By Steve Hullfish | June 27, 2013

If you have a Canon 5D and edit on Avid, I have the missing link.

(And if you edit on something else, I still have the missing link… see the bottom of the article.)

So, I’ve had my Canon 5D Mark II for a few years. I’ve used it on a few jobs that I’ve... Read More

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MC 7 is out! What Avid won’t tell you about Spanned Markers

MC 7 is out! What Avid won’t tell you about Spanned Markers

Spanned Markers, the good the bad and the ugly

By Steve Hullfish | June 27, 2013

Avid Media Composer 7 has actually streeted a little earlier than planned, so I thought I'd spend a couple of articles filling you in on the new features, one at a time.

So, one of the features I saw demonstrated at NAB in April that I thought was pretty cool was Spanned Markers.... Read More

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Another test for Golden Eyes

Another test for Golden Eyes

Are your eyes color deficient?

By Steve Hullfish | June 25, 2013

I posted another one of these color tests several months ago and it went viral, so I'm going with another one I found recently.

This doesn't have a UI that's quite as fun as the last one, but it's quite challenging.

According to the X-Rite website, 1 in 255... Read More

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NVIDIA K5000 - Next step in GPU power and tech

NVIDIA K5000 - Next step in GPU power and tech

H-264 hardware encoding enabled and waiting

By Steve Hullfish | June 07, 2013

Before I received the NVIDIA K5000, I read about it and was excited that it had H.264 encoding capability on the board. I tend to do a lot of H.264-encoded deliverables. Unfortunately my excitement was short lived when I found out that while NVIDIA had delivered on their end, nobody else had... Read More

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The Color Grading Environment and Ideal Lume Bias Lights

The Color Grading Environment and Ideal Lume Bias Lights

Lighting for Color Grading

By Steve Hullfish | June 07, 2013

In my first book on color correction, “Color Correction for Video – 2nd Edition” there’s a great story about an early color grading pioneer. When they built his color correction suite, they made it like a “smoking room,” with warm, incandescent lighting and... Read More

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Psychology of Color

Does a specific color indicate a specific emotion?

By Steve Hullfish | July 19, 2012

So, I've spent a lot of the last decade thinking, writing, talking and speaking about color. One of the things that I thought would be more clear in talking to creative people about color would be the emotional impact of specific colors.

While colors certainly deliver valuable story and emotional clues, the question among colorists and directors of photography is whether a specific color provides a specific emotional cue that is the same for all people. Most colorists believe that color cues are dependent on context and culture.

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Making the Switch: FCP7 to Avid MC6: Part 3

Making the Switch: FCP7 to Avid MC6: Part 3

Delete, shift-delete, Mark Clip and Marker

By Steve Hullfish | July 12, 2012

In Part 1 we covered the JKL keys, IO keys and zooming in the timeline. In the previous installment, we covered Insert, Overwrite, Replace and the Pen Tool.

In this, the 3rd part of our FCP to Avid thesaurus, we'll translate the delete and shift-delete functionality of FCP; Mark Clip and Marker. Read More

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Part 2 of Making the Switch from FCP to Avid MC

Insert, Overwrite, Replace and Pen Tool

By Steve Hullfish | July 10, 2012

In Part 1 we covered the JKL keys for playing footage and the IO keys with various modifiers to mark and clear in and out points. We also covered zooming in the timeline. In this installment, we'll cover the Insert, Overwrite and Replace buttons; and the Pen Tool. Read More

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Making the Switch from FCP7 to Avid MC6

FCP to MC6 Thesaurus

By Steve Hullfish | July 07, 2012

With so many people looking for an NLE to replace FCP7, it's natural that people are turning to Avid.

I've moved between editing systems often, and I can relate to the apprehension and frustration of moving to a new NLE. I often describe this process like learning a new language: you already know how to communicate, but now you need to do it with new words and new grammar.

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Isis: Enabling a Pro Collaborative Workflow

Isis: Enabling a Pro Collaborative Workflow

By Steve Hullfish | June 28, 2012

The ability to work well in a shared, creative community is a key requisite for any professional editing solution used in producing today's feature films and prime time TV shows. As the hands-down leader in the development of integrated media environments for the post production industry, Avid understands this better than most. Read More

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Color Correction Practice Game

Test your skills, improve your eye

By Steve Hullfish | May 05, 2012

I found a very cool little site that tests your ability to match a specific color based on hue, saturation and brightness. At first, I thought it was just kind of cute, but the more I played it, the more valuable I felt it was to improving your skills as a colorist. Trying to see and match colors is critical to a colorist. Also, as I played numerous iterations of the game, I realized that my eyes must have a specific deficiency in a hue range that is just on the magenta side of red. I was getting perfect and very good scores all the way around the color wheel, but in that specific area I was rarely getting very good scores. Read More

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“Courageous” Part Two: on-line

Part 2 on the editing and delivery of a RED feature to theaters

By Steve Hullfish | October 24, 2011

The first part of this article dealt with the capture, transcode, preparation and off-line edit of the feature film, "Courageous," for which I was one of three editors. In this article I'll discuss the on-line process which primarily took place at PostWorks New York.The main personnel involved with the on-line editing were Post production Supervisor, Clarke Gallivan, on-line editor George Bunce, colorist Scot Olive, and Joe Beirne, head of all things technical at PostWorks. Read More

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The Editing of “Courageous” Part One

The off-line edit of a RED feature film

By Steve Hullfish | October 15, 2011

Last October, I had the rare opportunity to edit a feature film called "Courageous," which is in theaters now. "Courageous" was the number one new movie the weekend it opened (September 30th) and the number four movie over all and it's stayed in the top six for the last three weeks, with its per-theater box office at the number one spot for two weeks, and still at number 2.You can download the trailer here.This article and the follow up will discuss the entire workflow of getting the R3D files from the camera, archiving them, transcoding them, organizing the files, making editing decisions with the director, and eventually, delivering the edit and raw files to PostWorks in NY and following the entire on-line post-production workflow getting the RED files and a Final Cut Pro 7 sequence up on the big screen in over 1,200 theaters nationwide.

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FCP X Mission Control Parody

What if Cupertino was "Houston?"

By Steve Hullfish | July 27, 2011

When astronauts had a problem out in space, you heard the familiar "Houston, we have a problem" radio call. With FCP X, the problem is in Cupertino. What if Steve Jobs was running NASA?This story was inspired by Oliver Peters and the following really cool web site.http://360vr.com/2011/06/22-discovery-flight-deck-opf_6236/index.html Read More

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Proof that FCP X is really just iMovie - directly from Apple

Apple publicly admits that FCP X is just iMovie!

By Steve Hullfish | June 25, 2011

If you still have doubts that FCP X is really just iMovie on steroids - and the fact that the first thing it asks to import from IS iMovie and that's not enough of a clue - then take a very close look at the launch screen for FCP X. Read More

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