AE for Editors: Prolost Speedramp
Speed ramps used to be rare, and before that, nonexistent. Slow motion has long been a part of cinema—it...
ART OF THE CUT with Ken Burns’ doc editor Craig Mellish, ACE
Documentary editing is an art form that requires tremendous patience, skill and imagination. Eisenstein’s theories about the juxtaposition of...
Media Composer 101 – Lesson 20 – Basic Transitions
In this lesson, Kevin P McAuliffe goes back to basics and continues his talk about editing in your Media...
Do Away with the Array: RE:Lens for After Effects brings clarity to extreme fisheye scenes
RE:Vision Effects, best known for its Academy Sci-Tech award-winning motion-estimation-based effects including Twixtor and Reel Smart Motion Blur, demonstrated...
ART OF THE CUT with the editor of “The Jungle Book,” Mark Livolsi, ACE
Editor Mark Livolsi, ACE, started out as an apprentice editor on “Wall Street” (1987), moving up through the ranks...
These are a few of my favorite things… in Resolve 12.5
Just a quick tour of some of the new stuff I like after playing with 12.5 a bit, including some...
ART OF THE CUT with Oscar winning editor: Martin Walsh
In the Art of the Cut interview series I’ve had the pleasure to interview several Oscar-winning editors. This one...
Art of the Cut with “Batman v Superman” editor, David Brenner
David Brenner has 23 credits as an editor going back to the 1980s with “Talk Radio,” “Born on the...
Three Step Workflow with G-Technology Evolution Series
Video and film editors who work with HD and 4K file based workflows need reliable, rugged and high performance video storage for...
Creating Easy Credit Scrolls in Media Composer with BCC Title Studio
If you purchased BCC 10, you have access to a powerful titling at your disposal, that will be able...
