ART OF THE CUT with the editor of 2019 Cannes Palme d’Or winner “Parasite”
Parasite won the prestigious Cannes Palme d’Or in 2019. In this Art of the Cut interview, we discuss the...
Review: Lumberjack Builder for Adobe Premiere Pro
If you’re an editor who has to work with a lot of interviews where you need transcripts, then there...
After Effects & Performance. Part3: It’s numbers, all the way down
If you’re reading this then you’re probably an After Effects user, and if you’re an After Effects user then...
DUIK Bassel: The Premiere Animation Toolkit for Mograph Artists
If you’re an After Effects artist toying with the idea of creating character-driven animation, the free but powerful DUIK...
SMPTE Hollywood explores Deepfakes: creative promise and potential perils
The next SMPTE Hollywood Section meeting explores “deepfakes”, and how the emerging field of synthetic humans can be used...
Day 2 from Adobe MAX 2019
As is now tradition, I live-streamed the first chunk of the morning’s Keynote on the Uber over as I...
Let’s Edit with Media Composer – Dailies Workflows Part 1 – Working with Dailies from Assimilate Scratch
This tutorial, and the next bunch after it came from a very simple place. Someone posted on the Avid...
Art of the Cut Podcast Eps. 20 (w/ “Motherless Brooklyn” Editor Joe Klotz, ACE)
The Art of the Cut podcast brings the fantastic conversations that Steve Hullfish has with world renowned editors into...
ART OF THE CUT with Oscar nominee Joe Klotz, ACE, on editing “Motherless Brooklyn”
Joe Klotz, ACE has had a feature film and TV career that has spanned more than two decades. He...
Day 1 from Adobe MAX 2019
Last year, I was invited to attend Adobe MAX and to say I was overwhelmed would be an understatement....
