Still shipping hard drives or using FTP?
Transporting footage from set, between editors and for final delivery has been necessary since the dawn of filmmaking. While...
Motion blur in Final Cut Pro X – via Motion
This week on MacBreak Studio, I show Steve Martin from Ripple Training how you can create realistic motion blur...
How to be a hero to your kids (by editing that is).
Many editors work in anonymity, often alone, sometimes never seeing a client, usually without the praise that is given...
A.C.E. Eddie predictions – How do you judge?
Following up the Variety Editing predictions with the A.C.E. Eddie predictions. What do you think?Beasts of No Nation
Creating the sounds for The Revenant
In “The Revenant”, Oscar winning director Alejandro G. Inarritu tackles the tale of Hugh Glass, a trapper and a...
ART OF THE CUT with Stephen Mirrione, A.C.E. of “The Revenant”
Art of the Cut talks with Academy Award-winning editor, Stephen Mirrione, A.C.E. and his latest film, “The Revenant.”
Creating Compound Clip Handles in Final Cut Pro X
This week on MacBreak Studio, I show Steve Martin from Ripple Training a different and perhaps better way to...
Black & white movies are good (really)
Younger friends and family members routinely say they won’t watch black & white movies. Contrary to what they may...
Get Started Fast with Media Composer for High-Res Workflows—Part 3
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 2
Many editors don’t work in larger then HD projects, but what happens when you’re ready to make the leap?...
