29 blog posts found matching keyword search for: Avid Editors in Oregon
Keeping up with fan expectations for game day broadcasts can be challenging. Beyond the action on the field, viewers anticipate an immersive, fast-paced and entertaining experience that engages them across multiple media platforms.
Every winter in Utah, the Sundance Film Festival becomes the ultimate gathering of original storytellers and audiences. The festival includes dramatic and documentary features and short films; series and episodic content; and New Frontier, showcasing emerging media in the form of multimedia installations, performances, and films. When you attend Sundance, you can expect to attend daily filmmaker conversations, panel discussions, and live music events.
Editor Phil Bowman has built a wealth of career experience in fiction and documentary that cover military missions, true-crime, and ghost stories that cross into sci-fi. On Avid Media Composer, he has cut the feature film Pickups starring Aidan Gillen (Game of Thrones) about the life of a jobbing actor, which premiered at the London Film Festival 2017, the Discovery show Gold Rush, which follows crews as they hunt for gold in the Yukon, and Obsession, a series telling the harrowing stories of victims of stalking.
As recently as a couple of years ago, it was generally thought that immersive formats such as Dolby Atmos can only be used on big studio productions. Now, this is not necessarily true. Here’s a story of how a short passion project grew into a full-blown Hollywood production and how using Avid Pro Tools native support for Dolby Atmos allowed us to push the boundaries on a proof of concept.
by Michael Valinsky After initially meeting at Manhattan Edit Workshop's Inside the Cutting Room event, we followed up to talk further with Emmy-Award winning editor Arielle Amsalem at Third Rail Coffee in Greenwich Village, NYC. One of the most promising up-and-coming documentary editors today, we had the opportunity to ask her a whole range of questions. Here's our fully-caffeinated interview.
by Andre ElijahSony Vegas Pro 13 is a Non Linear Editing system from the folks at Sony Creative Software akin to other professional mainstream NLEs from Avid, Adobe, and Apple. Like those other NLE's, Vegas Pro 13 has all of the day to day essentials required by a modern editor including, a timeline, media bins, a viewport for the selected clip, as well as a viewport for the timeline. Additionally - all of the tools in terms of making selections and trimming are where you'd expect. Since I come from a career of mainly editing documentaries - one of the things I've come across lots of is mixed formats of footage. RED, 5D mark II, GoPro, P2, XAVC, and files transcoded in ProRes. I'm glad to report that all of these formats work easily in Vegas Pro 13 - and it is as simple as drag and drop. Additionally you can mix and match all these types of footage in the same timeline without issue.
Final Cut Pro X has come along way since it's controversial launch in 2011, but many in the filmmaking industry don't know that. Future Media Concepts (FMC) had the pleasure of speaking with Brad Olsen, the Producer of Off the Tracks-a new documentary about how Final Cut Pro X shook up the post production industry. Today there is a growing community of Final Cut Pro X editors, trainers, and plugin developers who share a common passion for making a difference in the world.
On the heels of Sundance and SXSW, Adobe Premiere Pro made a splash at Tribeca and supporting filmmakers. ProductionHUB exclusively talked to the editors behind American Factory, This is Not Berlin, CRSHD and STORM – a few spotlight examples amongst the dozens of films that used Premiere Pro at the festival, exemplifying Adobe’s commitment to the filmmaking community and ongoing mission to build innovative post-production tools that help filmmakers tell one of a kind stories.
If you're a fan of college football, you've more than likely watched or at least heard of Auburn University. Think Cam Newton. Imagine what it's like to capture video of all of the crazy game plays and touchdown passes. And how exactly does all of the amazing footage end up on your TV screen? Weston Carter, Director of Video Services, Auburn Athletics Department, answered a few questions about the whole process.
Remember that time that you and the team worked for three whole days and nights to hit that impossible deadline? No? Selective memory?You tried to forget? Your clients didn’t. Remember that exact moment it all crashed and it all went to sh*t because you didn’t back it all up to a nice big fat storage platform cause you would “do it later when we had time?” Well having been there, I can tell you it might be one of your worst professional moments ever. Ever… Lets hope that you NEVER feel that way. It is possible. Check it all out…