PluralEyes 4.0 Adds Direct Premiere Pro Link to Shooter Suite 13.0

Published on Thursday, 11 February 2016

PluralEyes v4.0 audio/video syncing software for NLEs works directly Red-giant-PluralEyes-4-Premiere-Pro
inside Premiere Pro without leaving the editor, increases automation
and integrates with Offload for on-set backups.

Avid Media Composer 8.5 Supports HDR Workflows and 64 Audio Tracks

Published on Tuesday, 02 February 2016

Avid Media Composer 8.5 now has a more logically organised interface Avid-MC8 5-HDR
and a live trim update. It supports HDR workflows, has a new rotation tool,
and editors can work with up to 64 audio tracks.

Edit Studios Masters the Mistika for Award-Winning Looks

Published on Wednesday, 20 January 2016

Edit Studios’ colourists in Tel Aviv completed the grade for ‘Baba Joon’, Edit-studios-mistika-babajoon7
best film at the Israeli Academy Awards, on the facility’s Mistika and
explain the image control the system affords.

Octopus 8 Newsroom Brings New Web and Social Connectivity

Published on Friday, 28 August 2015

Octopus 8 is updated to change the way news teams connect with Octopus mobile-apps
social media and online news channels, enabling them to collaborate
and publish stories quckly on multiple platforms.

Editor Alan Bell Cuts ‘The Hunger Games’ Final Chapter

Published on Thursday, 14 January 2016

Alan Bell, editor of ‘The Hunger Games: Mockingjay Part 2’, talks about Alan-Bell-Blackmagic-Fusion-HG2-6a
his work on the movie, and about his distinctive approach to cutting films,
blending the roles of editor and compositor.

Filthy Look Films Cleans Up its Look with Red Giant Colorista

Published on Sunday, 19 July 2015

DP and colourist Mick Jones at Filthy Look uses Colourista in Premiere Pro Filthy-Look-Apparel-BTS
to establish looks in pre-production, and develop an original style for each
project and for the company itself.

Soundfirm Gets the Look for ‘The Dressmaker’

Published on Friday, 04 December 2015

 

Colourist Trish Cahill and DI supervisor Jonathan Burton at Soundfirm Soundfirm-resolve-TheDressmaker 0202a1
explain the colour grade and online edit of ‘The Dressmaker’, handled
entirely in-house on the DaVinci Resolve Studio.

 

 

Fifty Fifty’s FilmLight Workflows Finish Gary Lineker Doco for BBC

Published on Monday, 13 July 2015

Fifty Fifty post house in London has set up a close, renderless integration Fifty-fifty-Baselight-lineker
between their Baselight PLUS grading suite and Baselight for Avid in
the editing suite, saving time.

Arab Telemedia Adopts FilmLight Colour Control Pipeline

Published on Sunday, 29 November 2015

Arab Telemedia installed systems and software integrating FilmLight FilmLight-Baselight-Arab-Telemedia
FLIP, Daylight, Baselight for Avid and Baselight TWO, upgrading colour
management within their production workflows.

Mistika Air Refines Broadcast Post Workflows

Published on Wednesday, 01 July 2015

SMPTE SGO will demonstrate tools in the Mistika finishing system for SGO-Mistika-Precision-Panel
grading, editing and compositing in post production workflows, focusing
on Mistika Air for broadcast.

FotoKem Takes on ‘Ash vs Evil Dead’ with DaVinci Resolve

Published on Monday, 23 November 2015

Colourist Alastor Arnold at FotoKem led the grade and online edit of Blackmagic-Fotokem-evil-dead2
the pilot for new TV series ‘Ash vs Evil Dead’. He kept the entire
workflow, from DI to finishing, in DaVinci Resolve.

Snell Turnkey Systems Power Alchemist OD Format/Framerate Conversions

Published on Tuesday, 16 June 2015

Snell is now integrating their Alchemist OD format and framerate Snell-Alchemist-OD-turnkey1
converter into configured, high-performance turnkey systems,
built for either professional or enterprise applications.

Beast Editor Dean Gonzalez Cuts Green Day’s ‘Heart Like a Hand Grenade’

Published on Thursday, 05 November 2015

The new doco of the making of Green Day’s album ‘American Idiot’, Beast-greenday-photo-marina-chavez2areleased
in October, was shot with a single handheld three-chip camera and took
editor Dean Gonzalez a full year to cut.

Grass Valley EDIUS 8 to Support Canon XF-AVC & Faster Transcodes

Published on Thursday, 21 May 2015

Grass Valley EDIUS 8 editing platform for production and broadcast, GV-EDIUS 8 Screen EN
will gain a new UI, Canon XF-AVC support, a new workflow clip
management tool and accelerated 4K H.264 playback.

Boris FX BCC 10 for Avid Integrates mocha Tracking and 3D Titles

Published on Thursday, 05 November 2015

New Boris FX BCC 10 plug-ins integrate mocha tracking and masking, Boris-10-with-Mocha-in-Avid
new 3D titling, and skin retouching software into the Avid timeline,
accessible without exports or changing application.

Wim Wenders’ ‘Every Thing Will Be Fine’ Finished with DaVinci Resolve

Published on Friday, 08 May 2015

The recent project from director Wim Wenders, ‘Every Thing Will Blackmagic-resolve-Wenders5
Be Fine’, has been graded on DaVinci Resolve at Arri Mitte, part of
Arri Film & TV Services in Berlin, by colourist Philipp Orgassa.

Nomad Scales Up Asset Archive and Retrieval with CatDV

Published on Wednesday, 04 November 2015

Nomad Editing uses CatDV with Akomi to control a massive archive CatDV-Nomad-editing5a
of advertising assets, and now runs an efficient, collaborative MAM
service for their projects across all locations.

Blackmagic Design Resolve 12 Builds Up Editing, Compositing & Audio

Published on Thursday, 16 April 2015

NAB The new version 12 of Blackmagic Design’s DaVinci Resolve grading Blackmagic-DavinciResolve12EditPage
software has new editing and audio capabilities, and a new 3D tracker
and 3D keyer that increase grading precision.