The Future of Live-Action VR… is Still Well in the Future
VR technology is here…sorta. Storytelling, though, has taken a back seat to technology. That’s a big problem. Recently I...
Should you transcode before Color Grading in Adobe Premiere?
There are a lot of misconceptions about transcoding, and discussions on transcoding pop up in forums and groups quite...
Using the Tangent Element in Final Cut Pro X
This week on MacBreak Studio, returning special guest Sam Mestman shows our host Steve Martin from Ripple Training how...
AE for Editors: Prolost Speedramp
Speed ramps used to be rare, and before that, nonexistent. Slow motion has long been a part of cinema—it...
Free Function Friday locateMidPoint
Ep. 32 locateMidPoint Free Function Friday
ART OF THE CUT with Ken Burns’ doc editor Craig Mellish, ACE
Documentary editing is an art form that requires tremendous patience, skill and imagination. Eisenstein’s theories about the juxtaposition of...
Improving image quality by changing channels
Image quality can be a touchy subject, from production right through to final delivery. So to claim that I’m...
The essential gear you may not be using on set
Generations of filmmakers have refined the tools we use to make movies. But if you haven't been on a...
Media Composer 101 – Lesson 20 – Basic Transitions
In this lesson, Kevin P McAuliffe goes back to basics and continues his talk about editing in your Media...
Do Away with the Array: RE:Lens for After Effects brings clarity to extreme fisheye scenes
RE:Vision Effects, best known for its Academy Sci-Tech award-winning motion-estimation-based effects including Twixtor and Reel Smart Motion Blur, demonstrated...
