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It’s time to expand the cinema side of our studio again.  We have been fortunate and have been doubling that side of the biz each year for the past three years, and now its time to expand once more.

We are going to be looking for a senior as well as junior editor as well as be filling our spring term internship.  Job will be more than demanding, but there will most likely be world wide travel. Salary will be competitive with benefits.  If you know of anyone who might be interested, have them give a shout.  I will be posting the listing here first.

We’ve been on the road much of Feb shooting photography, but finally had some time to get back in the editing room and finish another film in our Investigator Profiles for MIT RLE.

This one is probably one of my favorites so far.  This Investigator deals with mostly theory, so the big challenge for us was how to illustrate thought.   To do this, we used a bunch of time lapse and motion graphic work.  It was a lot of fun to work with the scientists on the shot where their mathematical computations appear in thin air and then float into the ether.

We also continued our tradition of creating a custom music track for the film.  I hope you enjoy!

Very excited…

Today we went old school and hung an 8 foot chalk board on one of the empty walls so we can use it to flush out all kinds of nutty thoughts.  (looks tiny in the photo against the wall… but its 8′ if you can believe it.  (we still have lots of empty space to fill in the studio)

We also hung a white board in one of the editing bays to use as a “Job Que” in order to keep track of all the on-going movie jobs that are stacked up.  The biggest learning lesson thus far… We need another board.

Here is our latest IP film.  If your reading this in an RSS feed, click here to watch the film.

These films are now becoming ubiquitous on our filmography blog and commercial portfolio.

The RLE “Investigator Profile”  or “IP Series,” has been an amazing long term project now.  I will have to go back and count, but we are in the 24-27 number of films now.

The challenge has always been to keep them fresh and new, while still keeping to the mandate set forth almost four years ago.

Since that first IP film, technology has moved light years.  Our first films were shot on first gen Cannon XL1’s and cut on FCP 1 with the most basic of production value.

These days, we are working hard to innovate using the newest in state of the art HD cameras, exploring motion graphics, and pushing the boundaries of institutional films with high end cinema tools like cranes, dollies, and helicopter work.

I have written about it before, but working on these films provides some of the most interesting and rewarding work we do.   There is nothing like sitting down with an amazing individual and spending an hour chipping away at just what makes them tick.

This latest IP film features Greg Wornell.  This film was a bit of a challenge at the onset because the work Greg does is mostly theoretical, and the big challenge with theory, is how to illustrate it.

To meet this challenge, we shot a lot of collaborative footage to try to show how Greg’s group had great cohesion.  We also experimented with shooting lots of screenshots of group members coding, then manipulating it to create cool transitions.

I think this is one of our better films, and is worth watching.  If you have the six min, give it a click.  I’d like to know your thoughts.

Thanks for your time.

For those of you who have been following the Final Cut Pro controversy, you have already been flabbergasted at Apple’s decision to F@#K the professional editing community by walking away and leaving them full in the lurch with their bit of garbage Final Cut Pro X.

I have been kind of pissy with Jobs choosing to have nothing to do with Flash on their mobile devices, and was even more dumbfounded after Apple decided to walk away from the enterprise server biz, but messing with Final Cut Pro is the last straw.

After much debate this month, we have decided to walk away from 10 years of use and move to what we now feel will be a much better partner in our growing cinema business…  and what made the decision even more compelling was Adobe’s full on push to gather up all the disenfranchised FCP users and bring them over to the PP side.

Adobe is now offering 50% off their packages…  Seeing how we needed the new CS, Illustrator, Lightroom, etc… anyway, it was an easy decision.

It was quick and easy… One call and we ordered a bunch of licenses for the Creative Suite Production Premium and we were good as gold.

Now for the hard part…. getting the guys up to speed on a totally new platform.

Lynda.com here we come!

 

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