Improving audiograms in 2018 with SpareMin
Back in July 2017, I published a review of Auphonic’s audiogram service, which creates visual animation over a still...
Let’s Edit with Media Composer – Start right, Finish right!
In this lesson, Kevin P McAuliffe talks about Projects, and the most important thing to keep in mind when...
ART OF THE CUT with Avengers – Infinity War editor, Jeffrey Ford, ACE
Jeffrey Ford, ACE has been working in the Marvel Universe for several years. His previous projects include: Doctor Strange...
The Reality of Unscripted Television Editing
To watch the webinar that accompanies this article and talks through many of the topics laid out here in...
ART OF THE CUT with Melissa Kent of on editing “Traffik”
Melissa Kent is an Eddie nominated editor with more than two dozen feature films under her belt, including Age...
NAB 2018: What Caught My Eye
NAB 2018 didn’t showcase any startling new tech — no new minivan-sized light-field camera; no “Billy Lynn’s Long Halftime...
My top 5 features in DaVinci Resolve 15 plus an interview with Blackmagic’s Director of Sales Operations
DaVinci Resolve 15 was a big update at NAB 2018. It began with the buzz that Fusion was getting...
Samsung 360 Round ready for film and broadcast
Samsung took an enhanced version of the Samsung 360 Round camera to NAB 2018, showing how the updated 360...
ART OF THE CUT with “A Quiet Place” editor, Chris Tellefsen, ACE
Editor Christopher Tellefsen has a great body of work. Starting as an assistant editor on The Color of Money...
NAB 2018: Codex ColorSynth for FCPX
Codex Digital has long been known for elegant and robust on-camera recorders, rack-mounted Vault recorders, and the Codex Production...
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