Streaming Media Magazine writes about the state of streaming media protocols in 2013. They write, "Without protocols, there would be no concept of a webpage, email delivery, or even VoIP (voice or video over IP). In fact, there would be no streaming of any flavor. With that in mind, let's take a quick look at the latest developments in a few key protocols, some of which are just coming into widespread use for streaming."
Read it here.
As part of Manhattan Edit Workshop's "Inside the Cutting Room with Bobbie O'Steen" series, editor Andrew Weisblum discussed cutting for both Wes Anderson and Darren Aronofsky.
Writes Filmmaker Magazine, "Comparing his partnerships with Aronofsky and Anderson, Weisblum says both men are open and trusting collaborators, but the similarities between their directorial styles end there. Aronofsky likes loose, vérité shooting, but has a sometimes rigid allegiance to the rules of classic Hollywood filmmaking; Anderson plans and choreographs his shots meticulously, but 'there’s no rule book, it’s just what he likes.'"
Read more here.
Connect 2 Media & Entertainment (“Connect 2 ME”) is a new year-round news and information source and online community for media and entertainment professionals. Inspired by NAB Show, the world’s dominant B2B event for media and entertainment professionals, and produced in partnership with NewBay Media, the industry’s largest publisher, Connect 2 ME is a socially-enabled digital gateway where NAB Show attendees, exhibitors and the media and entertainment community at large can access content via a website, frequent e-newsletters, social media and mobile/tablet editions.
NoFilmSchool provides a primer on encoding and compression, writing, "Knowing all the variables of a delivery encoding job can help optimize bit efficiency, ensure the highest possible quality of media, and reduce the visibility of artifacting such as banding. Read on for a look at what drives the quality-to-compression ratio of your lossy-encoded delivery video, and how you can even ‘trick’ it in some cases."
Read the full piece here.
Dylan Tichenor
The Editor's Guild talks to editors Dylan Tichenor A.C.E., and William Goldenberg along with sound designer Paul Ottosson about the post-production process for Kathryn Bigelow's Zero Dark Thirty.
Says Tichenor about cutting together the more than 320 hours of footage, "I remember there was a ton of footage — hour upon hour upon hour — and our job as editors was to find the salient moments that speak to us and tell the story and the performance. As such, we had to watch every bit of it and pay attention and take notes and pull our bits."
Editors Guild Magazine talks to sound designer Ben Burtt about the challenges of creating the authentic aural landscape of Lincoln. Says Burtt, "I just didn’t want to use my imagination for what the movie sounded like. Let’s look at authenticity for once, instead of creating an impression of authenticity. My first stop was the Lincoln Presidential Library in Springfield, Illinois, where Dr. James Cornelius helped me out. They had Lincoln’s actual mantel clock from his office. And they recorded that for me. He also provided a dinner bell that sat on Robert Lincoln’s table. And there was a music box, which belonged to Mary Todd Lincoln, so I got eight minutes of waltz music.”
Read the full piece here.
The below tutorial looks at Antler Post-Production Services' Final Cut Pro X plug-in for the Blackmagic Cinema Camera. Says photographer/filmmaker Adam Roberts, "The plugin is a great workflow tool for Final Cut Pro X (FCPX) users who are working with footage from the Blackmagic Cinema Camera (BMCC) that will be delivered to television."
Watch below or read the transcript here.
Premiumbeat rounds up their top 5 NLE plug-ins that are under $200. They write, "Sometimes you need more tools than your video editing or motion graphics application has to offer. This is where plugins become a necessity. Plugins usually perform a task that you cannot do with the app’s default tools or they do the task quicker and better. Many video editors are on a budget, so in this post I decided to focus on the most powerful plugins you can get for $200 or less. These plugins can speed up your editing workflow and give you powerful post production tools."
Read it in full here.
Cameron Harland, general manager of New Zealand’s Park Road Post, says that it took two and a half years to devise the workflow for the 48 fps 3D feature The Hobbit: An Unexpected Journey. Utilizing SGO’s Mistika platform as the hub of its large DI infrastructure, Park Road, in partnership with SGO, co-developed tools to span the post pipeline.
FotoKem and SPY (a FotoKem company) combined in-house talent and key post-production services for the Sundance winning film Fruitvale, written and directed by Ryan Coogler with cinematography by Rachel Morrison. The film won the festival’s coveted Grand Jury Prize and Audience Award for a drama, and was acquired by The Weinstein Company soon after its premiere screening.
