Editorial to Color Grading from a Colorist’s POV

Robbie Carmen explains the relationship a post colorist should have with the editorial staff. Like every part of postproduction, there is no such thing as “too much” communication between an editor and colorist (or other post team members for that matter). I’ve seen projects crash and burn over simple miscommunications between an editor and a Read MoreRead More

Perfect by Proxy: A Brief Look Into What ‘Offline/Online’ Means

As productions are moving into larger and larger files, it may be preferential to go back to the old “offline editing” model. Dave Kendricken explains what that means and how you can implement it in your workflow. The core concept of offline editing has existed in filmmaking forever — the process simply wasn’t referred to as such Read MoreRead More

What’s the difference between Consumer and Pro graphics cards?

If you’re building a new editing computer, what’s the difference between the top of the line professional graphics cards and a top of line gaming card which can often cost a lot less? How do you choose between consumer and pro graphics cards? Low cost and high performance are compelling with the lower-end products, but Read MoreRead More

How would Lionsgate recut the trailer for your film? Before and After Case Study

To figure out how to create a trailer that sells, Chris Jones compares and contrast the trailer cut by the filmmakers of “Dead Wood” and the trailer cut by Lionsgate after they purchased the film for distribution. The Filmmaker’s cut: Lionsgate’s cut: 1. Watch 100 trailers for movies in the same genre and steal the Read MoreRead More

Famous Dissolves Throughout History

Kevin B. Lee showcases some famous dissolves in his video essay for, what else, The Dissolve. The average moviegoer is more likely to spend time thinking about acting, directing, or plotting than about transitional effects. But these neglected corners of the movies—the ethereal atomic elements, the overlooked nuts and bolts of the machinery—offer the richest Read MoreRead More

Advantages Of Using Stock Footage

Jerry Kokich explains the advantages of using stock footage as a stand in for creating complicated sequences. There was a post on a Facebook filmmaking page about shooting a sunset. This guy was asking for technical suggestions as to how to deal with the changing light, camera and color balance. There were all these lengthy Read MoreRead More

Editor Alisa Lepselter Talks Blue Jasmine, Her 15th Woody Allen Collab

The Credits interviews Alisa Lepselter on her process working as Woody Allen’s editor. The Credits: You’ve been working with Woody Allen as editor since Sweet and Lowdown (1999). What’s your work process with him like and has it changed at all over time? Alisa Lepselter: Not that much has changed, in that because of the way he makes Read MoreRead More

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