Avid Technology today announced that it has addressed customer requests for native support of the Sony XDCAM format, a ground breaking 3D Stereoscopic workflow and the “death of the dongle,” with the release of Avid Media Composer (v3.5), Symphony™ (v 3.5) and NewsCutter (v 7.5) software.... »
Editor Joe Kriksciun, familiarly known as Joe K, has joined FilmCore. A two-time AICE Award nominee, Kriksciun will be based out of FilmCore’s New York office but also expects to work out of the company’s facilities in Santa Monica, San Francisco and Chicago. Formerly with Go Robot, New York, Kriksciun has cut spots for such accounts as Smirnoff, IBM, Motorola and the ONDCP. In his first project for FilmCore, Kriksciun is cutting a campaign for ESPN and The Martin Agency promoting the network’s coverage of Grand Slam tennis events.... »
Matrox Video Products Group today announced that new value-priced bundles of the Matrox RT.X2 and RT.X2 LE realtime editing platforms and Adobe Premiere Pro CS4 are now available worldwide. The bundles include either the RT.X2 or RT.X2 LE realtime editing card with a professional breakout box, Adobe Premiere Pro CS4, Adobe Encore CS4, and Adobe OnLocation CS4.... »
Why would you ever want to use an auxiliary timecode when chances are your clips already have a master timecode track? There are two very common uses.... »
Louis Lyne has come aboard Start as Senior Editor, alongside Partner/Executive Producer Kristin Redman and Partner Richard Gagnon. Prior to the move, Lyne was at Griot Editorial, where he enjoyed a five-year run. A distinguished editor whose work has garnered D&AD Pencils, British Television Arrows, Clios, "Best in Show" at The Bessies and recognition at Cannes and the Caddies (now the 'D Show'), Lyne has spent two decades honing his talents all over the world, collaborating with major agencies and top directorial talent. He has just completed his first assignment with Start, an expansive digital project for the Ford F150 via Team Detroit Digital.... »
For The Greatest, the new Pierce Brosnan/Susan Sarandon drama in competition at this year's Sundance Film Festival, editor Cara Silverman found a new way of working — based in Los Angeles while the production shot in New York, Silverman let her assistant run the Avid Adrenaline while she cut footage on a laptop loaded with the software version of Avid Media Composer.... »
Blu-ray encoding can be tricky on feature films. But usually there are just a few difficult shots, uniformity to the look of the shots from color correction, and small artifacts in the background can be acceptable since the viewers’ eyes are drawn to the actors. Baraka was not such a film. It relies completely on the stunning visuals, has no dialogue and no overall conformed color palette to the entire film, which presented a tall order to bring this 70mm exploration of the Earth to disc.... »
The Other End of the Line, a romantic comedy shot in India and the U.S., faced more than the usual cross-cultural challenges that come with shooting on two continents. For director Jim Dodson, whose work includes Behind Enemy Lines II, Catch That Kid and Sunset Strip, the bigger headache came during post as the deadline for Cannes rapidly approached.... »
Today, Adobe Systems Incorporated introduced Adobe Premiere Pro CS4 version 4.0.1 software, a major update to the leading start-to-finish professional video production solution. A pivotal component of Adobe Creative Suite 4 Production Premium, Adobe Premiere Pro CS4 version 4.0.1 leads the way in delivering open, flexible post-production workflows by providing virtually seamless project exchange with Final Cut Pro, Digidesign Pro Tools, and Avid workflows. Adobe Premiere Pro CS4 version 4.0.1 enables users to import Final Cut Pro projects via XML interchange, export to Open Media Framework (OMF) format, and import and export projects in Advanced Authoring Format (AAF). Adobe Premiere Pro CS4 version 4.0.1 also offers significant performance and stability enhancements, including full support for 64-bit computing platforms to accelerate compute-intensive post-production tasks.... »
Adobe Systems Incorporated and RED Digital Cinema Camera Company are partnering together to bring a truly native, color-rich, 4K tapeless workflow to desktop tools, allowing filmmakers to harness the full potential of high-resolution raw digital cinematography.... »
