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When it comes to cutting reality television, editing teams have their work cut out for them – no pun intended. This is in part due to the “always on” nature of reality TV that involves 24/7 filming, resulting in hours upon hours of content. This was also the case for the editing team behind the Paramount+ lifestyle series All Star Shore, which was tasked with cutting a massive amount of footage – 2,500 hours to be exact. With four ISOs recording 17 hours a day and 13 more on set ENG style, the folks at Eggplant Picture & Sound knew they’d need to ramp up quickly if they were going to meet the production deadline.

Imagine if you could use any physical environment as a stage for a compelling and interactive digital experience. That is what augmented reality in 2020 is like, according to Chris O’Reilly, the Co-Founder of Nexus Studios, (with offices in Los Angeles and London) whose interactive team have spent much of the last year consumed with the developing potential of AR. For him, it is an extraordinary technology where buildings come to life, imaginary creatures believably walk among us, and a myriad of alternate versions of reality are made to exist on top of another. More than stories, these are worlds that we will be able to experience, intertwined with our own and at any moment, powered by new technologies and our imagination.

Virtual Reality (VR) is about to bring the ocean’s mysteries to the 99.9 percent of us who will never actually don a wetsuit for a deep-sea dive. Chasing Coral (the feature) and Chasing Coral: The VR Experience, which both premiered at Sundance 2017, capture climate change’s impact on our oceans and reefs. The latter project does so by giving viewers a full 360-degree view. Just trade in the face mask for a 3D headset and instantly you have coral ahead, ocean below, and fish above.

For the upcoming major motion picture Reminiscence – the feature film directorial debut from Westworld co-creator Lisa Joy, starring Hugh Jackman, Rebecca Ferguson, and Thandie Newton—award-winning director of photography Paul Cameron, ASC reached into his bag of innovation, math, and imagination to create breathtaking imagery.

When millions of people across the world join you for the free and all-virtual Adobe MAX 2021, which included hundreds of expert sessions inspiring us to create the next coolest thing, it can be tough to stand out from the crowd. But the can’t-miss, fan-favorite MAX Sneaks – where we show off early technology previews of potential features that may or may not get into our products – turned heads.

by featured blog contributor, Jeremy PinckertMost Super Bowl ads are exquisitely planned, taking months of pre-production involving the best creative minds in the business. They also are blessed with stratospheric budgets. But what happens when your client calls you to produce something for the big game, and it’s only weeks away? Put down that Ambien, there’s no need to fret - this survival guide can help you rise to the challenge! The University of Notre Dame found out they needed an “institutional message” to air during college football’s BCS title game. This title game was expected to draw over 30 million viewers, becoming the highest-watched sports game in history outside of the Super Bowl. We received a call to see if I could direct the crew and if my company, Explore Media, could produce the entire spot. The caveat? This happened on a Tuesday morning. They needed to shoot by Friday of the same week! If we wouldn’t have had the background tips I’m going to share in this guide, I don’t think there’s any way we would’ve achieved the results.

We’re in a time when live actors share the screen with puppets and avatars, shows like The Orville are taking onscreen space travel to a whole new level, and armies of walking dead are taking over the streets of Atlanta. And with real-time rendering behind the scenes, post production crews are doing it all at the fastest pace of all time. It’s an exciting time to be in visual effects. With technology advancing rapidly and many of the previous obstacles falling away, it’s also a highly competitive and challenging time. For more on the subject, we talked to an industry veteran.

What better way to kick off the summer production season than with Cine Gear Expo? Held at The Studios at Paramount, Cine Gear Expo was clearly the place to be for media professionals. There were scores of new product demonstrations along with expert panel discussions, awards and special screenings.

We recently spoke with Ludovica Isidori, the cinematographer of the upcoming thriller film Sanctuary starring Christopher Abbott and Margaret Qualley, which recently premiered at TIFF.