Behind the Cinematography of the Oscar-Nominated Documentary “Cartel Land”
Cinematographer Matt Porwoll is based in New York City. His most recent work, Cartel Land, was nominated for a 2016...
Ask me no questions and I’ll speak in no fragments
A sign taped to the door says “Quiet– filming.” This only makes you more nervous. You enter the room:...
Creating screen replacement effects in Final Cut Pro X
This week on MacBreak Studio, I show Steve Martin from Ripple Training how you can use the Distort tool...
Q and A with Wipster about the Vimeo + Wipster Partnership
I’ve long been a big fan of proper Review and Approcal services. My Review and Approval Options for Video Pros is...
A digest of last week’s photo and video news – Week 8
A digest of last week’s news is a selection of some of the news from week 07 from 2016...
ART OF THE CUT with “Deadpool” editor Julian Clarke
“Deadpool” is one of the biggest films to date to be edited in Premiere Pro CC. Its editor, Julian...
Choosing the perfect lens
You may be familiar with the old MGM saying that they had, “more stars than there are in heaven.”...
Get Started Fast with NewBlue Titler Pro for Media Composer—Episode 1
With the move to larger then HD projects, there have been some changes in Media Composer that editors need...
Get Started Fast with Media Composer for High-Res Workflows—Part 5
Many editors don’t work in larger then HD projects, but what happens when you’re ready to make the leap?...
Get Started Fast with Media Composer for High-Res Workflows—Part 4
Many editors don’t work in larger then HD projects, but what happens when you’re ready to make the leap?...
