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Editing

Color Grading and finishing in Premiere Pro CS5.5

This video tutorial, by Jarle Leirpoll, teaches how to do primary, secondary and some pretty advanced color correction in Adobe Premiere Pro CS5.5. You’ll learn how to create masks for color correction inside of Premiere Pro, and to tweak parts of the image without affecting others.Read More

Editing SCARFACE for TV

It was Harry Tatelman’s job to convert Universal’s films into television fare by taking out the foul language, and some of the violence and nudity. When he was given the task of editing Scarface’s 160 ‘F’ words along with its other blue content few thought it could be done. But in the end it may be the most creative censorship ever to hit the TV airwaves.Read More

7 professional editors share their FCPX experiences

Philip Bloom asked seven professional editors (Michael Friedman, Cameron King, Adam Barton, Eli Ungar-Sargon, Alan Seawright, Chip Dizárd) to share their experiences with working with the much maligned Final Cut Pro X. Perhaps the lover’s scorn for the Apple editing system was more emotional than rational?Read More

Final Cut Pro X gets an Update, Sucks Less

Apple just released Final Cut Pro X 10.0.3 – and with the addition of a small numeral change comes a handful of important updates, key among them multi-cam support, advanced chromakey tools, support for output cards for preview monitors, and (about time) an upgrade path to import old FCP 7 projects into X (although you have to pay for that feature)Read More

When Black & White Cartoons get the Color Treatment

In the 90s, colorizing old cartoons seemed like a no-brainer, what could distract little tykes better than a swatchful of color? In 1992, Ted Turner, on his colorization bender took a batch of old black and whites, shipped them to South Korea where they were hand traced, colored in and reshot. Read More

The Art of the Title: Rubicon

Rubicon is AMC Original Series that follows a beleaguered and brilliant government analyst who, after being faced with a shocking tragedy, begins to uncover clues that could point to a complex and sinister consipiracy. To portray that paranoia, Creative Director Karin Fong studied infrastructure, battle graphs, and 70s psycho movies to craft the final version of the opening title animation.
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