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Gone Girl goes from raw 6K footage to Hollywood thriller with the power of Adobe Premiere Pro CC

Two-time Academy-winning editor Kirk Baxter, ACE, discusses how Premiere Pro and other Adobe apps like After Effects give him a powerful editing and post-production toolset. See how the tight integration of Adobe video apps helped Baxter and team turn the raw footage of David Fincher’s thriller Gone Girl into a polished motion picture.

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Breaking Into Hollywood: ‘No’ Is Just a Conversation Starter

Gary W. Goldstein has produced some of Hollywood biggest box-office hits (Pretty Woman, Under Siege, The Mothman Prophecies), generating well over One Billion Dollars in worldwide revenue, receiving multiple Academy Award nominations, a Golden Globe and numerous other accolades.

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When I first drove into this sprawling metropolis – this City of Angels that seemed it could swallow whole the San Francisco I’d just left and still be hungry for more – I found it intoxicating and inspiring, imposing and impenetrable. I’d no idea how to literally or metaphorically navigate the beast of a dream that brought me to this land of endless freeways. I was exhilarated, afraid and mostly lost.

Do not pass “Go” until you get it in writing!After better than a decade spent discovering, nurturing and launching careers as a literary manager, primarily repping writers and directors, I switched hats but continued the search for brilliant new talent as a producer. Failure didn’t evaporate, it just simply had to accept sharing the limelight with bigger and more consistent successes.

Over the years, after countless scraped knees and flat-out failures – a seemingly endless parade of emotional, mental and financial defeats – all that trial and error paid off. The strategies, systems and mindset that consistently triggered successes stood out in bold relief, in contrast to all the attempts, ideas and approaches that, at best, wasted time and, at worst, failed miserably.

ScriptMag | Read the Full Article

The Art of Noise – Why Some People Think Film Looks Better than Digital

It just won’t go away, will it? However much you can prove with specifications that digital video is indisputably better than film, there’s a stubborn feeling that there’s more to it than the simple-to-prove facts. RedShark News indentifies one, subtle, process that helps film to store more visible information than digital.

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Recently we asked for reader’s opinions on this, and we had a good response, although much of it was rather predictable. Some said that we shouldn’t be comparing the two at all. Some said that whatever anyone wants to believe, that film will always be better – even going on to say that something is “lost” when we digitise things.

All of which may be true. But I think we’ve at last stumbled on something that might be tangible. It’s to do with the fundamental difference between film and digital.

It’s fairly easy to explain, but not that easy. And remember – this is just our theory: we’re not going to be dogmatic about this and if anyone can prove us wrong, that’s fine with us.

Here goes.

Film doesn’t have pixelsBoth film and digital have a limit to their resolutions. With digital, the fundamental unit of resolution is the Pixel. You can count them easily as they’re arranged in a grid. There’s a slight (well actually rather a severe) complication here, which is that in order to get colour out of a modern, single, sensor, you have to have a Bayer-pattern filter, which does reduce the resolution by the time its output has been run through debayering software that kind of guesses what colour each pixel should be, based on the ones around it. This makes it difficult to state the exact resolution but as Bayer algorithms get better and resolutions get higher, it doesn’t change the fundamental dynamics of the film vs digital debate.

Film doesn’t have a grid of pixels. Far from it. What it has instead is essentially random shaped crystals of chemicals. And of course these vary completely from frame to frame, and between different parts of the same frame.

So, whereas with a digital system, the grid doesn’t move, there isn’t a grid at all with film, where, if you try to look for corresponding areas of light on successive frames, you won’t find them on a microscopic level.

So, you’d be perfectly entitled to ask at this point whether, how, or why this matters, when the film grain is too small to see.

RedShark News | Read the Full Article

I Am Santa Claus – Trailer

Follow the lives of four Santa Clauses to find out what the rest of the year is like for a man who perpetually looks like Jolly Saint Nick. In the process, they are shown for who they actually are, flawed, flesh and blood men who feel an overbearing responsibility to protect the integrity of the spotless, untarnished reputation of the ‘Red Suit.’ ‘I Am Santa Claus’ is a documentary that poses a question about a ubiquitous holiday figure that few parents ever ask themselves; ‘Whose lap is my child sitting on?’

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