25 blog posts found matching keyword search for: Production Engineer in Boston
by Stephan Guarch & Edgar Cohen Aerial photography and videography are nothing new to the production world. But how we achieve those shots certainly has in the last 12 months. Drones have exploded in popularity as a way to get aerial and low altitude footage for videos, for everything from full feature films such as “The Wolf of Wall Street” to the everyday film hobbyist who flies leisurely at the local park. But for anyone who has actually tried to capture this footage there’s quite the learning curve involved when it comes to choosing the right drone and what seems like an infinite amount of accessories and upgrades. This week the team at Experience Above posts a nice overview of the top 3 tips for getting started with drone video production, a handy starters guide.
If I had to pick one constant among independent film festival submissions it would be unintelligible dialogue. The cause of desperation of every director; the bane of every mixing engineer’s existence; the source of suffering of your friends and family, forced to go through a whole movie they don’t understand because the actors’ words simply can’t be heard. This and many other nuances of your film’s sound are the victims of a few often overlooked details, which in turn result in the delivery of a subpar soundtrack, driving your audio post team insane and wasting production money. Good news is these mistakes can very easily be prevented. You can start by tackling a few key issues often associated with your role.
As technology continues to progress at a rapid pace, post-production is set to change dramatically. Besides great new software features, compute (and therefore render) power continues to increase with faster processors and more powerful xPUs (GPUs, TPUs, etc.). This means real-time editing of HD, 4K, 8K, AR and VR is fast becoming a reality, ultimately shortening post-production timeframes.
Over the past several years, two major technological developments have occurred in tandem, both of which have made wide-ranging and revolutionary changes in the world of media post-production. One of these developments is the explosion in sophisticated yet affordable software; the other is the exponential growth of cloud computing.
With a career that spans back to his days in recording more than a decade ago, Production Sound Mixer José Frías has long-held a love for the audio industry. Although he got his start in music, he’s held many different audio production roles, which has led to his working on projects for high-profile clients, such as Motorola, IBM, ESPN, Time Magazine and more.
The production industry is always changing, from new ways to film to new technology, with so many women spearheading new initiatives that continue to change the industry. We are thrilled to present a few of our favorite "Women to Watch". Women who are constantly inspiring and reaching new ceilings in an industry that was previously male-dominated.
Get insight from our exclusive interview with sound designer, Ed Kaufman on life as a post production pro, tips on how to best make dialogue, music, and audio pieces all fit together and more!
It’s almost the Fourth of July and many of the production pros are loading up for the big outdoor production runs of the summer. But let’s face it — in reality, working outdoors can be a year-round challenge. From freezing rain and blistering heat too long days and nights, executing live multi-camera outdoor productions can be a daunting, yet exhilarating experience.
Adding music to a film can add power and interest to the production. And when the music is an integral part of the story, the power is multiplied. Filmmakers, creative editing company editors and sound engineers need to work together to realize the full advantages of using music in their film.
In my previous ProductionHUB column, Remote Production: The World is Your Oyster, I discussed the emerging trend of remote production. Increasingly, we’re seeing post-production companies create infrastructure that spans the globe rather than just the length of a building.