PluralEyes v4.0 audio/video syncing software for NLEs works directly
inside Premiere Pro without leaving the editor, increases automation
and integrates with Offload for on-set backups.
Avid Media Composer 8.5 now has a more logically organised interface
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’ colourists in Tel Aviv completed the grade for ‘Baba Joon’,
best film at the Israeli Academy Awards, on the facility’s Mistika and
explain the image control the system affords.
Octopus 8 is updated to change the way news teams connect with
social media and online news channels, enabling them to collaborate
and publish stories quckly on multiple platforms.
Alan Bell, editor of ‘The Hunger Games: Mockingjay Part 2’, talks about
his work on the movie, and about his distinctive approach to cutting films,
blending the roles of editor and compositor.
DP and colourist Mick Jones at Filthy Look uses Colourista in Premiere Pro
to establish looks in pre-production, and develop an original style for each
project and for the company itself.
Colourist Trish Cahill and DI supervisor Jonathan Burton at Soundfirm
explain the colour grade and online edit of ‘The Dressmaker’, handled
entirely in-house on the DaVinci Resolve Studio.
Fifty Fifty post house in London has set up a close, renderless integration
between their Baselight PLUS grading suite and Baselight for Avid in
the editing suite, saving time.
Arab Telemedia installed systems and software integrating FilmLight
FLIP, Daylight, Baselight for Avid and Baselight TWO, upgrading colour
management within their production workflows.
SMPTE SGO will demonstrate tools in the Mistika finishing system for
grading, editing and compositing in post production workflows, focusing
on Mistika Air for broadcast.
Colourist Alastor Arnold at FotoKem led the grade and online edit of
the pilot for new TV series ‘Ash vs Evil Dead’. He kept the entire
workflow, from DI to finishing, in DaVinci Resolve.
Snell is now integrating their Alchemist OD format and framerate
converter into configured, high-performance turnkey systems,
built for either professional or enterprise applications.
The new doco of the making of Green Day’s album ‘American Idiot’, released
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 editing platform for production and broadcast,
will gain a new UI, Canon XF-AVC support, a new workflow clip
management tool and accelerated 4K H.264 playback.
New Boris FX BCC 10 plug-ins integrate mocha tracking and masking,
new 3D titling, and skin retouching software into the Avid timeline,
accessible without exports or changing application.
The recent project from director Wim Wenders, ‘Every Thing Will
Be Fine’, has been graded on DaVinci Resolve at Arri Mitte, part of
Arri Film & TV Services in Berlin, by colourist Philipp Orgassa.
Nomad Editing uses CatDV with Akomi to control a massive archive
of advertising assets, and now runs an efficient, collaborative MAM
service for their projects across all locations.
NAB The new version 12 of Blackmagic Design’s DaVinci Resolve grading
software has new editing and audio capabilities, and a new 3D tracker
and 3D keyer that increase grading precision.