Defining DIT: From Misconception to The Right Tools for the Job

In a Three Part Series: Micah Van Hove interviewed four working DITs (Digital Imaging Technician) from New York and L.A. to help contextualize the role they play and offer insights into the business. Part 1, Part 2, Part 3 It’s easy to put an idea in someone’s mind — yet incredibly difficult to bore it out. Somewhere along Read MoreRead More

Tips For Making A Better Video Demo Reel Which Can Get You New Clients

Mike Wilkinson discusses strategies to get your demo reel up to snuff so it can bring in some new business. 1. What kind of a reel are you making? Most of the video guys I know wear many hats. They shoot, edit, direct, light, mix sound in post, do timelapses, etc. That’s great, but for Read MoreRead More

How Alfred Hitchcock hid 10 Edits in Rope

Alfred Hitchcock’s “Rope” was shot and edited to look like one continuous. It turns out there are 10 cuts which Vashi Nedomansky combines together in a sort of supercut. I always knew that some of the cuts were hidden by camera wipes…but never realized there were 5 hard cuts hiding in plain view! It’s also interesting to Read MoreRead More

Visual Storytelling with Red Giant

Colorist and Adobe Certified Master Trainer Simon Walker will explore how colour grading techniques are used in film, and will provide practical demonstrations on how to create moods, suggest genres, and to inform the audience of the motivations of on-screen protagonists, using Red Giant’s Magic Bullet Suite of plug-ins.Read More

3 Low Budget Editing Tips for Action Movies

Vashi Nedomansky offers three editing tips for boosting your action films punch without boosting the budget. I wanted to follow it up with more low budget tips on creating realistic effects that don’t require CGI or green screens. This time around it involves editing techniques that have been around for 100+ years. These tips have Read MoreRead More

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

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