AVID editors (editors in general) be on alert about this potential rebooting issue. UPDATE: Google’s fault
I normally don’t to a lot click-bait, scare-mongering blog posts trying to keep up with some breaking news but there...
After Effects Classic Course: Remove Color Matting
One of the tell-tale signs of a good composite versus a bad composite is the quality of the edges...
ART OF THE CUT with Gary Dollner, ACE, editor of “Fleabag” and “Killing Eve”
Gary Dollner, ACE, is an award-winning editor with BAFTA nominations for In the Thick of It (2005), and Fleabag...
Windows 10 LTSC: better for production & sanity than Home or Pro
I certainly don’t prefer the Windows operating system, but sometimes people must use it. In this article, you’ll learn...
Let’s Edit with Media Composer – Settings, Settings, Settings
In this lesson, I’m going to talk about User Settings. Most people create their user settings, and then only...
Watchtower – Automatically load media into your Premiere Pro or After Effects bins
I’ve always thought that one of the most useful features a non-linear editing tool could add would be watch...
The Art of the Cut Podcast Eps. 13 (w/ “The Goldfinch” Editor Kelley Dixon, ACE)
The Art of the Cut podcast brings the fantastic conversations that Steve Hullfish has with world renowned editors into...
Review: Flame Painter 4, a VFX toolbox designed for photographers
Launched in June, Flame Painter 4 celebrates a decade with many new features. If you’ve never used the app,...
ART OF THE CUT with Kelley Dixon, ACE on editing “The Goldfinch”
Kelley Dixon, ACE began her career in in the early 90s assisting on movies like Reservoir Dogs, Leaving Normal...
After Effects Classic Course: Set Matte versus Track Matte
One of the most useful compositing features in After Effects is the ability to use the properties of one...
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