I have to refute this YouTube video about faster editing with a panel
I got into a bit of a comment argument with a creator on YouTube the other day. Armando Ferreira...
New VR headsets: an invitation to watch cinema on the big screen
Watching movies using a VR HMD is getting a boost with the new wave of Virtual Reality headsets coming...
ART OF THE CUT WITH “Pet Sematary” editor, Sarah Broshar
Sarah Broshar started as an editorial assistant on Sky Captain and the World of Tomorrow in 2004. Broshar was...
The Great C: Philip K. Dick’s short story now available on mobile VR headsets
Virtual Reality is good for movies, and the 37 minutes of The Great C show a cinematic virtual reality...
Stabilized Footage AE Script
Get some ideas for how stabilized footage can be used.
FiLMiC Pro framerates: VFR status & workflow reaffirmed at NAB 2019
At NAB 2019, I asked the lead programmers at FiLMiC Pro whether the VFR (variable frame rate) recording situation...
ART OF THE CUT WITH Martin Bernfeld, editor of “Hellboy”
Martin Bernfeld has been editing features for 15 years, including Project Almanac, Paranormal Activity: The Ghost Dimension, Power Rangers,...
NAB 2019: 8K
NAB 2019 marked the point where — without any particular fanfare — 8K television moved from a gee-whiz technology...
Random thoughts on NAB 2019, my saddest NAB ever
Was NAB 2019 boring? Maybe. Admittedly I did spend a lot of time upstairs in the South Hall teaching...
ART OF THE CUT with Phyllis Housen, ACE, editor of “Clemency”
Phyllis Housen, ACE has been a feature film editor since the early ’90s, including Cargo, To Whom it May...
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