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...
PVC’s guide to the best cameras for all content creators
Deciding which camera offers the best bang for the buck is always a difficult process, so we made it...
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...
Sony’s PolarSens technology: a polarizer that works in real time
Polarizers are filters that remove reflections at certain angles. Sony Semiconductor Solutions has developed a sensor that can calculate...
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...
It’s 2021: Time to turn your makeshift home office into a bona fide studio
Let’s be honest: back in March 2020 very few of us thought we’d still be editing in our pajamas...
Formula 1 is back, so is Netflix’s documentary Drive to Survive
A week before the 2021 F1 season commences, Netflix releases the third season of its fly-on-the-pitwall F1 documentary series...
