Storytelling With Color Correction
Here’s the second video in our series designed to educate the consumer in the power of good color correction....
ART OF THE CUT with Lee Smith on cutting 007’s “Spectre”
Lee Smith, ACE, most recently cut the Bond flick, “Spectre” but has also cut “Master and Commander,” “Batman Begins,”...
Get Started Fast with NewBlue Titler Pro for Media Composer—Episode 2
With the move to larger then HD projects, there have been some changes in Media Composer that editors need...
Magic Movie Wizard: a semi-automatic NLE
Last January Scott Simmons tested an automatic video editing tool, Fastcut, which I had mentionned here at ProVideo Coalition...
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In L.A.? Meet the Oscar nominated editors!
American Cinema Editors will hold its annual roundtable of the Oscar nominated editors at Grauman’s Hollywood Egyptian Theatre February...
Creating screen replacement effects in Final Cut Pro X
This week on MacBreak Studio, I show Steve Martin from Ripple Training how you can use the Distort tool...
Q and A with Wipster about the Vimeo + Wipster Partnership
I’ve long been a big fan of proper Review and Approcal services. My Review and Approval Options for Video Pros is...
ART OF THE CUT with “Deadpool” editor Julian Clarke
“Deadpool” is one of the biggest films to date to be edited in Premiere Pro CC. Its editor, Julian...
Get Started Fast with NewBlue Titler Pro for Media Composer—Episode 1
With the move to larger then HD projects, there have been some changes in Media Composer that editors need...
Get Started Fast with Media Composer for High-Res Workflows—Part 5
Many editors don’t work in larger then HD projects, but what happens when you’re ready to make the leap?...
