Understanding Premiere Pro’s Color Management
Read through any of the online forums and you’ll often see this common concern: “Why doesn’t my export look...
State of Remote Editing 2021: How it’s being done and how we should be doing it
It’s a year on from the start of the pandemic shutdown and we revisit the topic of remote editing...
Agence: cinematic storytelling with artificial intelligence
Would you play god to intelligent life? That’s the key question that Agence presents. This dynamic short-film merges cinematic...
ART OF THE CUT with Oscar Best Picture nominee “The Father”
Yorgos Lamprinos is an editor of Greek origin living and working in Paris. Yorgos edited the Oscar Best Picture...
Trusting Apple Displays?
In the “good old days” of post, directors, cinematographers, and clients would all judge final image quality in an...
Working with ProRes RAW in Final Cut Pro
With more and more cameras supporting ProRes RAW recording to the Atomos Ninja V, this week I take a...
Art Of The Cut Podcast Eps. 92 (“The Father” Editor Yorgos Lamprinos)
The Art of the Cut podcast brings the fantastic conversations that Steve Hullfish has with world renowned editors into your...
ART OF THE CUT with the editor of “Judas and the Black Messiah”
Today we’re talking with Kristan Sprague. Kristan edited Judas and the Black Messiah which was just nominated for an...
Hands on with Nuke CopyCat: is it Machine Learning or Witchcraft?
Every now and then something shows up in the world of postproduction that seems too good to be true...
HELP! How do I set a Media Composer project up for an Documentary Offline?
I get a lot of e-mails from people asking me questions about Media Composer. I thought that it would...
