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	<title>FilmmakerIQ.com &#187; Editing</title>
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	<link>http://filmmakeriq.com</link>
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		<title>12 New Effects in Adobe After Effects CS6</title>
		<link>http://filmmakeriq.com/2012/05/12-new-effects-in-adobe-after-effects-cs6/</link>
		<comments>http://filmmakeriq.com/2012/05/12-new-effects-in-adobe-after-effects-cs6/#comments</comments>
		<pubDate>Wed, 23 May 2012 16:20:42 +0000</pubDate>
		<dc:creator>John P. Hess</dc:creator>
				<category><![CDATA[Digital Effects]]></category>
		<category><![CDATA[Editing]]></category>
		<category><![CDATA[Adobe After Effects]]></category>
		<category><![CDATA[CS6]]></category>
		<category><![CDATA[Cycore]]></category>
		<category><![CDATA[Effects]]></category>

		<guid isPermaLink="false">http://filmmakeriq.com/?p=12055</guid>
		<description><![CDATA[Review some of the fun new effects available in AE CS6 including the Cycore HD effects and other built in plug-ins. Along the way, you'll discover why updating many of these effects to 32-bit in this version of After Effects is so important.]]></description>
			<content:encoded><![CDATA[<p>Review some of the fun new effects available in AE CS6 including the Cycore HD effects and other built in plug-ins. Along the way, you&#8217;ll discover why updating many of these effects to 32-bit in this version of After Effects is so important.</p>
<p><iframe title="AdobeTV Video Player" width="612" height="351" src="http://tv.adobe.com/embed/926/13314/" frameborder="0" allowfullscreen scrolling="no"></iframe> </p>
]]></content:encoded>
			<wfw:commentRss>http://filmmakeriq.com/2012/05/12-new-effects-in-adobe-after-effects-cs6/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Get Editing Quickly with Premiere CS6</title>
		<link>http://filmmakeriq.com/2012/05/get-editing-quickly-with-premiere-cs6/</link>
		<comments>http://filmmakeriq.com/2012/05/get-editing-quickly-with-premiere-cs6/#comments</comments>
		<pubDate>Tue, 22 May 2012 17:31:19 +0000</pubDate>
		<dc:creator>John P. Hess</dc:creator>
				<category><![CDATA[Editing]]></category>
		<category><![CDATA[Adobe]]></category>
		<category><![CDATA[Adobe CS6]]></category>
		<category><![CDATA[Adobe Premiere Pro]]></category>
		<category><![CDATA[Post-production]]></category>

		<guid isPermaLink="false">http://filmmakeriq.com/?p=12043</guid>
		<description><![CDATA[This lesson provides new editors with an overview of the editing process in Premiere Pro. A lot of this video applies to previous versions of Premiere as well.
]]></description>
			<content:encoded><![CDATA[<p>This lesson provides new editors with an overview of the editing process in Premiere Pro. A lot of this video applies to previous versions of Premiere as well.</p>
<p><iframe title="AdobeTV Video Player" width="612" height="351" src="http://tv.adobe.com/embed/935/13332/" frameborder="0" allowfullscreen scrolling="no"></iframe> </p>
]]></content:encoded>
			<wfw:commentRss>http://filmmakeriq.com/2012/05/get-editing-quickly-with-premiere-cs6/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>Color Grading and finishing in Premiere Pro CS5.5</title>
		<link>http://filmmakeriq.com/2012/04/color-grading-and-finishing-in-premiere-pro-cs5-5/</link>
		<comments>http://filmmakeriq.com/2012/04/color-grading-and-finishing-in-premiere-pro-cs5-5/#comments</comments>
		<pubDate>Tue, 17 Apr 2012 09:42:35 +0000</pubDate>
		<dc:creator>Dennis</dc:creator>
				<category><![CDATA[Digital Effects]]></category>
		<category><![CDATA[Editing]]></category>
		<category><![CDATA[Color Grading]]></category>
		<category><![CDATA[Post-production]]></category>
		<category><![CDATA[Premiere Pro]]></category>

		<guid isPermaLink="false">http://filmmakeriq.com/?p=11692</guid>
		<description><![CDATA[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.]]></description>
			<content:encoded><![CDATA[<p>This video tutorial, by <a  href="http://vimeo.com/leirpoll">Jarle Leirpoll</a>, teaches how to do primary, secondary and some pretty advanced color correction in Adobe Premiere Pro CS5.5. You&#8217;ll learn how to create masks for color correction inside of Premiere Pro, and to tweak parts of the image without affecting others.</p>
<p>Also covered is how to fix moiré, blown-out highlights, blue sky fix, sharpening, letterboxing, noise reduction, stabilizing and scaling/crop.</p>
<p>Click here to download the free preset collection &#8220;Jarle&#8217;s Grading Tools&#8221; so you can speed up your own color grading workflow.</p>
<p><iframe src="http://player.vimeo.com/video/29256397" width="612" height="344" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe></p>
]]></content:encoded>
			<wfw:commentRss>http://filmmakeriq.com/2012/04/color-grading-and-finishing-in-premiere-pro-cs5-5/feed/</wfw:commentRss>
		<slash:comments>3</slash:comments>
		</item>
		<item>
		<title>On RAID, Second Drafts and Storyboards (the Wrap)</title>
		<link>http://filmmakeriq.com/2012/04/on-raid-second-drafts-and-storyboards-the-wrap/</link>
		<comments>http://filmmakeriq.com/2012/04/on-raid-second-drafts-and-storyboards-the-wrap/#comments</comments>
		<pubDate>Mon, 02 Apr 2012 10:30:44 +0000</pubDate>
		<dc:creator>John P. Hess</dc:creator>
				<category><![CDATA[IQ Podcasts]]></category>
		<category><![CDATA[computers]]></category>
		<category><![CDATA[Editing]]></category>
		<category><![CDATA[RAID]]></category>
		<category><![CDATA[storyboard]]></category>
		<category><![CDATA[Storyboarding]]></category>

		<guid isPermaLink="false">http://filmmakeriq.com/?p=11449</guid>
		<description><![CDATA[John Hess covers the week that past and talks about rebuilding the editing beast, writing second drafts and making drawings in the Southern California Sun.]]></description>
			<content:encoded><![CDATA[<p>John Hess covers the week that past and talks about rebuilding the editing beast, writing second drafts and making drawings in the Southern California Sun.</p>
<p>Episode 44<br />
<iframe width="612" height="345" src="http://www.youtube.com/embed/1B4zKHWI01g" frameborder="0" allowfullscreen></iframe></p>
<p>Listen Audio Only:<br />
<iframe src="http://archive.org/embed/OnRaidSecondDraftsAndStoryboards" width="612" height="30" frameborder="0"></iframe></p>
<p><a  href="http://feeds.feedburner.com/Filmmaker_IQ_Podcasts">Subscribe to our Podcast Feed</a><br />
<a  href="http://itunes.apple.com/us/podcast/id443868063">Subscribe via iTunes</a></p>
<h2>Shownotes</h2>
<p>Check out my interview with Pablo Pappano!!</p>
<p>http://itunes.apple.com/us/podcast/pabcast-ep.-10-filmmaker-john/id493896698?i=112412414</p>
<p>Top 7 articles from March 25-31, 2012</p>
<h3>7. <a  href="http://filmmakeriq.com/2012/03/sag-and-aftra-merge-to-become-one-uber-union/">SAG and AFTRA merge to become one Über-Union</a><br />
<h3>
<p><img src="http://filmmakeriq.com/wp-content/uploads/2012/03/sag_aftra_one_union_logo_a_l.jpg"></p>
<p>The vote is in – members of the Screen Actor’s Guild (SAG) and the American Federation of Television and Radio Artists (AFTRA) voted overwhelmingly to combine creating the largest Hollywood entertainment union.</p>
<h3>6. <a  href="http://filmmakeriq.com/2012/03/auto-adr-in-adobe-audtion-cs6/">Auto-ADR in Adobe Audtion CS6</a></h3>
<p>Automatic Dialogue Replacement or Over-dubbing may get a considerably easier as demonstrated here in this sneak preview of Adobe Audition CS6:</p>
<p><iframe title='AdobeTV Video Player' width='612' height='345' src='http://tv.adobe.com/embed/877/12578/' frameborder='0' allowfullscreen scrolling='no'></iframe></p>
<h3>5. <a  href="http://filmmakeriq.com/2012/03/david-mamets-notes-to-the-writers-of-the-unit/">David Mamet’s Notes to the Writers of “The Unit”</a></p>
<p>David Mamet’s “The Unit” ran on CBS from 2006 to 2009 and covered the lives of secret military operatives. Prior to airing, Mamet wrote this memo to the writing staff chock full of useful writing tips.</p>
<h3>4. <a  href="http://filmmakeriq.com/2012/03/how-color-affects-black-and-white-photography/">How Color Affects Black and White Photography</a></h3>
<p>Sure you could set your camera to black and white, but you could potentially loose a lot of creative control if you don’t shoot in color for Black and White Conversion in post. Mark Wallace demonstrates specific techniques that can be applied in Lightroom or similar editing software to make your black and white images more impactful.</p>
<p><iframe src="http://player.vimeo.com/video/37970447?title=0&amp;byline=0&amp;portrait=0" width="612" height="344" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe>
<p><a  href="http://vimeo.com/37970447">How Colors Influence B&#038;W Photography Ep 232: Digital Photography 1 on 1: Adorama Photography TV</a> from <a  href="http://vimeo.com/adoramatv">AdoramaTV</a> on <a  href="http://vimeo.com">Vimeo</a>.</p>
<h3>3. <a  href="http://filmmakeriq.com/2012/03/shooting-the-crazy-chicken-with-a-c300/">Shooting The Crazy Chicken with a C300</a></h3>
<p>Shane Hurlbut blogs about his experience shooting a round of spots for El Pollo Loco using the Canon C300.</p>
<p><iframe width="612" height="344" src="http://www.youtube.com/embed/KdKKB_gQ9pE?feature=player_embedded" frameborder="0" allowfullscreen></iframe>.</p>
<p><img src="http://filmmakeriq.com/wp-content/uploads/2012/03/TheBlade-actionshot-600x403.jpg"></p>
<h3>2. <a  href="http://filmmakeriq.com/2012/03/diy-dishpan-light/">DIY Dishpan Light</a></h3>
<p>Griffin Hammond crafts a unique DIY lighting solution for $86, using hardware store parts, and eight 100-watt-equivalent compact fluorescent (CFL) bulbs.</p>
<p><iframe width="612" height="344" src="http://www.youtube.com/embed/NFzIP_TN75A?feature=player_embedded" frameborder="0" allowfullscreen></iframe></p>
<h3>1. <a  href="http://filmmakeriq.com/2012/03/michael-caine-on-acting-in-film/">Michael Caine on “Acting in Film”</a></h3>
<p>In 1987, as part of a British series on acting, Michael Caine conducted a Workshop where he teaches the art of movie acting to five young actors, who perform scenes from Alfie, Deathtrap and Educating Rita.</p>
<p><iframe width="612" height="344" src="http://www.youtube.com/embed/Njs6ZNSoFC0?feature=player_embedded" frameborder="0" allowfullscreen></iframe></p>
<p><a  href="http://filmmakeriq.com/2012/03/michael-caine-on-acting-in-film/">See the rest of this video.</a></p>
<h2>WTF Post of the Week</h2>
<p><a  href="http://filmmakeriq.com/groups/wtf/forum/topic/super-sax-man-sergios-careless-whisper/">Super Sax Man Sergio&#8217;s &#8220;Careless Whisper&#8221;></a></p>
<p><iframe width="612" height="344" src="http://www.youtube.com/embed/GaoLU6zKaws?feature=player_embedded" frameborder="0" allowfullscreen></iframe></p>
]]></content:encoded>
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		<slash:comments>0</slash:comments>
<enclosure url="http://archive.org/download/OnRaidSecondDraftsAndStoryboards/RaidAndStoryboards.mp3" length="" type="" />
		</item>
		<item>
		<title>Understanding Professional Grade Video Monitors</title>
		<link>http://filmmakeriq.com/2012/03/understanding-professional-grade-video-monitors/</link>
		<comments>http://filmmakeriq.com/2012/03/understanding-professional-grade-video-monitors/#comments</comments>
		<pubDate>Wed, 28 Mar 2012 10:10:32 +0000</pubDate>
		<dc:creator>John P. Hess</dc:creator>
				<category><![CDATA[Editing]]></category>
		<category><![CDATA[Monitors]]></category>
		<category><![CDATA[Post-production]]></category>
		<category><![CDATA[Video Monitor]]></category>

		<guid isPermaLink="false">http://filmmakeriq.com/?p=11402</guid>
		<description><![CDATA[Panasonic Post Expert Peter Putnam talks about the what to look for when comparing professional grade video monitors.]]></description>
			<content:encoded><![CDATA[<p>Panasonic Post Expert Peter Putnam talks about the what to look for when comparing professiona (evaluation)l grade video monitors.</p>
<p><iframe src="http://player.vimeo.com/video/39280763?title=0&amp;byline=0&amp;portrait=0&amp;color=ff000d" width="612" height="347" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe>
<p><a  href="http://vimeo.com/39280763">Explaining Evaluation-Grade Monitors</a> from <a  href="http://vimeo.com/bandh">B&amp;H Photo Video</a> on <a  href="http://vimeo.com">Vimeo</a>.</p>
]]></content:encoded>
			<wfw:commentRss>http://filmmakeriq.com/2012/03/understanding-professional-grade-video-monitors/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Create a Digital Media Player in AfterEffects</title>
		<link>http://filmmakeriq.com/2012/03/create-a-digital-media-player-in-aftereffects/</link>
		<comments>http://filmmakeriq.com/2012/03/create-a-digital-media-player-in-aftereffects/#comments</comments>
		<pubDate>Thu, 22 Mar 2012 04:10:03 +0000</pubDate>
		<dc:creator>John P. Hess</dc:creator>
				<category><![CDATA[Digital Effects]]></category>
		<category><![CDATA[Editing]]></category>
		<category><![CDATA[After Effects]]></category>
		<category><![CDATA[Load Screen]]></category>
		<category><![CDATA[MP3 Player]]></category>
		<category><![CDATA[Post-production]]></category>

		<guid isPermaLink="false">http://filmmakeriq.com/?p=11369</guid>
		<description><![CDATA[Using the standard tools in After Effects Shortformvideos creates a slightly retro-looking LCD display like the ones you'll find on older MP3 players. No plug-ins required.]]></description>
			<content:encoded><![CDATA[<p>Using the standard tools in After Effects <a  href="http://www.youtube.com/user/shortformvideos">Shortformvideos</a> creates a slightly retro-looking LCD display like the ones you&#8217;ll find on older MP3 players. No plug-ins required.</p>
<p><iframe width="612" height="341" src="http://www.youtube.com/embed/JlzXlU6AYlU" frameborder="0" allowfullscreen></iframe></p>
]]></content:encoded>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The RED Scarlet Workflow</title>
		<link>http://filmmakeriq.com/2012/02/the-red-scarlet-workflow/</link>
		<comments>http://filmmakeriq.com/2012/02/the-red-scarlet-workflow/#comments</comments>
		<pubDate>Wed, 29 Feb 2012 17:43:16 +0000</pubDate>
		<dc:creator>John P. Hess</dc:creator>
				<category><![CDATA[Editing]]></category>
		<category><![CDATA[Adobe Premiere Pro]]></category>
		<category><![CDATA[After Effects]]></category>
		<category><![CDATA[R3D]]></category>
		<category><![CDATA[RED]]></category>
		<category><![CDATA[RED Scarlet X]]></category>
		<category><![CDATA[Workflow]]></category>

		<guid isPermaLink="false">http://filmmakeriq.com/?p=11120</guid>
		<description><![CDATA[Presynkt Productions demonstrates their Red Scarlet workflow from ingesting into Adobe Premiere Pro CS5.5 and coloring in DaVinci Resolve.]]></description>
			<content:encoded><![CDATA[<p>Presynkt Productions demonstrates their Red Scarlet workflow from ingesting into Adobe Premiere Pro CS5.5, coloring in DaVinci Resolve, and finishing in After Effects.</p>
<p><iframe src="http://player.vimeo.com/video/36953792?byline=0&amp;color=ff000d" width="612" height="344" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe></p>
]]></content:encoded>
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		<slash:comments>2</slash:comments>
		</item>
		<item>
		<title>SxSW: Best Film Title Design 2012</title>
		<link>http://filmmakeriq.com/2012/02/sxsw-best-film-title-design-2012/</link>
		<comments>http://filmmakeriq.com/2012/02/sxsw-best-film-title-design-2012/#comments</comments>
		<pubDate>Thu, 23 Feb 2012 18:31:49 +0000</pubDate>
		<dc:creator>John P. Hess</dc:creator>
				<category><![CDATA[3D Graphics]]></category>
		<category><![CDATA[Credits]]></category>
		<category><![CDATA[Digital Effects]]></category>
		<category><![CDATA[Editing]]></category>
		<category><![CDATA[Post-production]]></category>
		<category><![CDATA[SXSW]]></category>
		<category><![CDATA[Title Design]]></category>

		<guid isPermaLink="false">http://filmmakeriq.com/?p=11010</guid>
		<description><![CDATA[Need some inspiration? South by Southwest Film and Music Festival released a list of the finalists in the Title Sequence Category from Film and Television productions. The final awards will be present on Tuesday, March 13 at 8pm.]]></description>
			<content:encoded><![CDATA[<p>Need some inspiration? South by Southwest Film and Music Festival released <a  href="http://sxsw.com/film/awards/design_awards">a list</a> of the finalists in the Title Sequence Category from Film and Television productions. The final awards will be present on Tuesday, March 13 at 8pm.</p>
<p>Which one of these is your favorite?</p>
<h2>205 &#8211; Zimmer der Angst</h2>
<p><iframe src="http://player.vimeo.com/video/37185748?title=0&amp;byline=0&amp;portrait=0" width="612" height="344" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe></p>
<p>Director: Rainer Matsutani<br />
Title Design by weareflink/weareflink GmbH</p>
<p>What happened in Room 205? Why has no one lived there for over a year? Katrin couldn&#8217;t care less: the 19-year-old student has landed a room in the dorm, and that means freedom! Freedom from home and her over-protective father. The semester is just beginning, and it&#8217;s time to make new friends, go to parties, have sex, and, of course, go to classes. Then, strange things happen in her room, and she begins to understand why no one wanted to move into Room 205 before.</p>
<h2>The Adventures of TinTin (Unofficial)</h2>
<p><iframe src="http://player.vimeo.com/video/30402976?title=0&amp;byline=0&amp;portrait=0" width="612" height="344" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe></p>
<p>Director: Steven Spielberg<br />
Title Design by James Curan</p>
<p>After discovering directions to a sunken ship commanded by Captain Haddock&#8217;s ancestor, Tintin and his friends decide to go on a treasure hunt.</p>
<h2>American Horror Story</h2>
<p><iframe src="http://player.vimeo.com/video/31050738?title=0&amp;byline=0&amp;portrait=0" width="612" height="337" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe></p>
<p>Director: Ryan Murphy<br />
Title Design by Kyle Cooper/Prologue Films</p>
<p>A family of three move from Boston to Los Angeles as a means of reconciling their past anguish. They move to a restored mansion, unaware that the home is haunted.</p>
<h2>Les Bleus de Ramville</h2>
<p><iframe src="http://player.vimeo.com/video/35372404?title=0&amp;byline=0&amp;portrait=0" width="612" height="344" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe></p>
<p>Director: Derek Diorio<br />
Title Design by Jay Bond/Oily Film Company Inc.</p>
<p>Les Bleus de Ramville follows the members of a small but fanatical senior hockey team&#8217;s fan club. For Gordie, Julie, Maureen, and Christian, the fan club represents more than just a promotional tool for the Ramville&#8217;s hockey team. It&#8217;s their passion – their way of life.</p>
<h2>Boss</h2>
<p><iframe src="http://player.vimeo.com/video/32712477?title=0&amp;byline=0&amp;portrait=0" width="612" height="345" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe></p>
<p>Director: Gus Van Sant<br />
Title Design by Angus Wall/Elastic</p>
<p>A juxtaposition of Chicago&#8217;s inhabitants, reflective illustrations and hand-drawn lettering with an indifferent urban landscape and dispassionate sans-serif typeface. Together, these elements serve to introduce audiences to the oppositions and contradictions that drive the show.</p>
<h2>Bunraku</h2>
<p><iframe src="http://player.vimeo.com/video/28693387?title=0&amp;byline=0&amp;portrait=0&amp;color=F5F500" width="612" height="344" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe></p>
<p>Director: Guy Moshe<br />
Title Design by Guilherme Marcondes/Hornet Inc.</p>
<p>A young drifter&#8217;s quest for revenge leads him into a bigger fight than he expected.</p>
<h2>Eva</h2>
<p><iframe src="http://player.vimeo.com/video/29972888?title=0&amp;byline=0&amp;portrait=0&amp;color=f5f500" width="612" height="344" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe></p>
<p>Director: Kike Maíllo<br />
Title Design by Dvein</p>
<p>It&#8217;s 2041. Alex, a brilliant and irreverent machine designer, returns to his hometown to complete an unfinished project: create a boy robot. There he reunites with Lana, his old love, now married to his brother David. Eva, David and Lana’s daughter, winds up captivating Alex, who uses her as a model for his daring project.</p>
<h2>Game of Thrones</h2>
<p><iframe src="http://player.vimeo.com/video/29116895?title=0&amp;byline=0&amp;portrait=0&amp;color=f5f500" width="612" height="344" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe></p>
<p>Director: Angus Wall<br />
Title Design by Rob Feng/Elastic</p>
<p>A Da Vinci-inspired map constructed on the inside of a sphere&#8211; each location a mechanical gear-works model fabricated as if by hand. At the sphere&#8217;s center a burning hot sun housed in a spherical astrolabe engraved with the history of Westeros serves as an introduction to familiarize the audience with the world they are about to be thrust into.</p>
<h2>The Girl with the Dragon Tattoo</h2>
<p><iframe src="http://player.vimeo.com/video/34699752?title=0&amp;byline=0&amp;portrait=0&amp;color=f5f500" width="612" height="344" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe></p>
<p>Director: David Fincher<br />
Title Design by Tim Miller/Blur Studio</p>
<p>The Girl with the Dragon Tattoo is a 2011 English-language thriller film directed by David Fincher, written by Steven Zaillian from the novel of the same name by Stieg Larsson. The film stars Daniel Craig as Mikael Blomkvist and Rooney Mara as Lisbeth Salander and tells the story of a man&#8217;s mission to find out what has happened to a girl who has been missing for 40 years, and who may have been murdered. The film is nominated for five Academy Awards, including one for Rooney Mara for Best Actress.</p>
<h2>Hell on Wheels</h2>
<p><iframe src="http://player.vimeo.com/video/32518308?title=0&amp;byline=0&amp;portrait=0&amp;color=f5f500" width="612" height="344" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe></p>
<p>Director: Various<br />
Title Design by Mark Gardner &#038; Jeremy Cox/Imaginary Forces</p>
<p>AMC&#8217;s new original series, Hell on Wheels, tells the compelling story of the construction of the Union Pacific railroad across America… a process that irrevocably changed our nation.</p>
<h2>Hephaestus</h2>
<p><iframe src="http://player.vimeo.com/video/31993385?title=0&amp;byline=0&amp;portrait=0&amp;color=ffffff" width="612" height="260" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe></p>
<p>Director: Alexander Curtis<br />
Title Design by Eric Dies</p>
<p>Hephaestus is an outdated, aging soldier. He was built to destroy, but he has found a new purpose in the care and protection of a young girl, Kaylee.</p>
<h2>Herbst</h2>
<p><iframe src="http://player.vimeo.com/video/24650419?color=87e0a2" width="612" height="256" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe></p>
<p>Directors: Florian Eidenhammer &#038; Patrick Gündera<br />
Title Design by Clemens Wirth/Clemens Wirth Motion Design</p>
<p>First World War Drama about love, friendship and loyalty.</p>
<h2>A History Of The Title Sequence</h2>
<p><iframe src="http://player.vimeo.com/video/26278283?title=0&amp;byline=0&amp;portrait=0&amp;color=f0ede6" width="612" height="260" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe></p>
<p>Director: Jurjen Versteeg<br />
Title Design by Jurjen Versteeg/Synple</p>
<p>This title shows a history of the title sequence in a nutshell. The sequence includes all the names of title designers who had a revolutionary impact on the history and evolution of the title sequence. The names of the title designers all refer to specific characteristics of the revolutionary titles that they designed.</p>
<h2>Magic Trip<br />
<h2>
<iframe src="http://player.vimeo.com/video/30774176?title=0&amp;byline=0&amp;portrait=0&amp;color=f0ede6" width="612" height="344" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe></p>
<p>Director: Alex Gibney / Alison Ellwood<br />
Title Design by Karin Fong/Imaginary Forces</p>
<p>At the advent of the psychedelic 60&#8217;s, Ken Kesey took an LSD–fueled bus trip with his friends the Band of Merry Pranksters and caught the whole thing on film. Magic Trip documents this wild ride that defined the 60&#8217;s counter-cultural revolution.</p>
<h2>The New Girl</h2>
<p><iframe width="612" height="341" src="http://www.youtube.com/embed/8A7W48gYzRw" frameborder="0" allowfullscreen></iframe></p>
<p>Director: John Priday<br />
Title Design by Veva Burns/Framework Studio</p>
<p>After a bad break-up, Jess, an offbeat young woman, moves into an apartment loft with three single men. Although they find her behavior very unusual, the men support her &#8211; most of the time.</p>
<h2>Shameless</h2>
<p><a  href="http://vimeo.com/36582979"><img src="http://filmmakeriq.com/wp-content/uploads/2012/02/Shameless-600x338.jpg" alt="" title="Shameless" width="600" height="338" class="aligncenter size-large wp-image-11015" /></a></p>
<p>Director: John Wells<br />
Title Design by Erin Sarofsky/Sarofsky Corp.</p>
<p>&#8220;Shameless&#8221; Showtime Original Series that revolves around a loving, but dysfunctional, south-side Chicago, lower middle class family. Frank Gallagher (William H. Macy) is the proud single father of six kids… However, his excessive drinking and minimal financial contributions to the family put the majority of the caretaking responsibilities on Fiona (Emmy Rossum), the oldest sister.</p>
<h2>Sherlock Holmes: A Game of Shadows</h2>
<p>Click on the image below to see a storyboard<br />
<a  href="http://prologue.com/projects/sherlock-holmes-a-game-of-shadows"><img src="http://filmmakeriq.com/wp-content/uploads/2012/02/Sherlock-600x251.jpg" alt="" title="Sherlock" width="600" height="251" class="aligncenter size-large wp-image-11011" /></a></p>
<p>Director: Guy Ritchie<br />
Title Design by Danny Yount/Prologue Films</p>
<p>Sherlock Holmes and his sidekick Dr. Watson join forces to outwit and bring down their fiercest adversary, Professor Moriarty.</p>
<h2>La Última Muerte</h2>
<p><iframe src="http://player.vimeo.com/video/32161443?title=0&amp;byline=0&amp;portrait=0&amp;color=f0ede6" width="612" height="467" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe></p>
<p>Director: David &#8220;Leche&#8221; Ruíz<br />
Title Design by Maribel Martínez/diecinueve36</p>
<p>Dr. Alexanderson finds an unconscious young man by the doorstep of his cabin. He will try to piece together the mans broken memory without knowing the dangers his family and friends will be exposed to in this psychological revenge thriller.</p>
<h2>Wer rettet Dina Foxx?</h2>
<p><iframe src="http://player.vimeo.com/video/22280098?title=0&amp;byline=0&amp;portrait=0&amp;color=f0ede6" width="612" height="344" frameborder="0" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe></p>
<p>Director: Max Zeitler<br />
Title Design by weareflink/weareflink GmbH</p>
<p>This TV thriller kick starts the cross-media event &#8220;Rescue Dina Foxx!&#8221;, which combines TV and internet to highlight the dangers of digital identity theft. The film introduces the story of Dina who is arrested for murder but claims her world has been manipulated by a digital doppelganger.</p>
<h2>X-Men: First Class</h2>
<p><a  href="http://watchthetitles.com/articles/00223-X_Men_First_Class">Click on the image below to see the sequence and making of:<br />
<img src="http://filmmakeriq.com/wp-content/uploads/2012/02/X-Menstill01-600x260.jpg" alt="" title="X-Men(still01)" width="600" height="260" class="aligncenter size-large wp-image-11012" /></a><br />
Director: Matthew Vaughn<br />
Title Design by Simon Clowes/Prologue Films</p>
<p>In 1962, the United States government enlists the help of Mutants with superhuman abilities to stop a malicious dictator who is determined to start world war III.</p>
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		<title>Editing SCARFACE for TV</title>
		<link>http://filmmakeriq.com/2012/02/editing-scarface-for-tv/</link>
		<comments>http://filmmakeriq.com/2012/02/editing-scarface-for-tv/#comments</comments>
		<pubDate>Tue, 21 Feb 2012 01:10:37 +0000</pubDate>
		<dc:creator>Dennis</dc:creator>
				<category><![CDATA[Editing]]></category>
		<category><![CDATA[Selling Your Film]]></category>
		<category><![CDATA[Distribution]]></category>
		<category><![CDATA[Marketing]]></category>
		<category><![CDATA[Post-production]]></category>
		<category><![CDATA[Scarface]]></category>
		<category><![CDATA[Television]]></category>

		<guid isPermaLink="false">http://filmmakeriq.com/?p=10975</guid>
		<description><![CDATA[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.]]></description>
			<content:encoded><![CDATA[<p>It was <a  href="http://www.imdb.com/name/nm0851219/">Harry Tatelman&#8217;s</a> job to convert Universal&#8217;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&#8217;s 160 &#8216;F&#8217; 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.</p>
<p><iframe width="612" height="445" src="http://www.youtube.com/embed/ePoRxQJPPzM" frameborder="0" allowfullscreen></iframe></p>
<p><iframe width="612" height="445" src="http://www.youtube.com/embed/KANukZsWD9Q" frameborder="0" allowfullscreen></iframe></p>
]]></content:encoded>
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		<title>7 professional editors share their FCPX experiences</title>
		<link>http://filmmakeriq.com/2012/02/7-professional-editors-share-their-fcpx-experiences/</link>
		<comments>http://filmmakeriq.com/2012/02/7-professional-editors-share-their-fcpx-experiences/#comments</comments>
		<pubDate>Wed, 08 Feb 2012 23:53:15 +0000</pubDate>
		<dc:creator>John P. Hess</dc:creator>
				<category><![CDATA[Editing]]></category>
		<category><![CDATA[Adam Barton]]></category>
		<category><![CDATA[Alan Seawright]]></category>
		<category><![CDATA[Cameron King]]></category>
		<category><![CDATA[Chip Dizárd]]></category>
		<category><![CDATA[Eli Ungar-Sargon]]></category>
		<category><![CDATA[FCP X]]></category>
		<category><![CDATA[Final Cut Pro X]]></category>
		<category><![CDATA[Michael Friedman]]></category>
		<category><![CDATA[Philip Bloom]]></category>
		<category><![CDATA[Post-production]]></category>

		<guid isPermaLink="false">http://filmmakeriq.com/?p=10847</guid>
		<description><![CDATA[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?]]></description>
			<content:encoded><![CDATA[<p>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&#8217;s scorn for the Apple editing system was more emotional than rational?</p>
<p><a  href="http://philipbloom.net/2012/02/07/fcpxeditors/"><img src="http://filmmakeriq.com/wp-content/uploads/2012/02/FCP1.jpg" alt="" title="FCP1" width="600" height="396" class="aligncenter size-full wp-image-10849" /></a></p>
<blockquote><p><a  href="http://philipbloom.net/2012/02/07/fcpxeditors/">After months of editing with FCP X, I am still aware of the ‘missing tracks’ but now, instead of driving a car, (bear with me, I am jumping metaphors)  it feels more like skiing or surfing.  There’s a freedom, a flexibility.  Now, ‘tracks’ seem out of place.</p>
<p>If you think this sounds like flowery hyperbole, you may be right.  It’s hard to think of ways to convey feelings about software.  So, I am merely trying to express the small sense of elation that I felt when I realized the upside of losing my trusted track framework.  I felt encouraged to experiment more.  I felt slightly liberated in my timeline edits.   For someone who grinds away in editing interfaces day after day, year after year, for more than a decade,  this was a notable change.  There is something new here; a different way to edit.</a></p>
<p><strong> —Philip Bloom.net | <a  href="http://philipbloom.net/2012/02/07/fcpxeditors/">Read the Full Article</a></strong></p></blockquote>
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