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Postproduction

The Affects of Today's DigiFX

Effects

digitaleffects_doug_ikeler_02-2Visual effects have been a part of movies since 1896 when French Director Georges Méliès produced the first of a series of pioneering films involving special effects. Thanks to computer technology, not only can today’s visual magicians achieve effects that their predecessors could only imagine, filmmakers can create stunning visuals at nearly any budget level. 

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A Toast to Post Music

Post Audio

bob_sfwThere’s no question about it: Music plays a critical role in the success or failure of movies, TV shows, documentaries and commercials. But there’s more to production music than a conventional score, such as "source music" cues where a radio or CD plays a specific song a film’s background. More and more filmmakers are turning to music libraries to help with their storytelling needs. And while music libraries have been around for decades, who uses them and how has changed.

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DI Comes in All Sizes

Digital Intermediates

di_company3_post-house_sfwThe digital intermediate (DI) has become an accepted part of the workflow for feature films ─ from the biggest blockbusters to smaller-budget independents. There are currently an enormous number of tools to get the job done, including software-based systems and the DI systems with the most bells and whistles. P3 Update has taken a look at some recent DI work to see the challenges that DI artists are facing and the tools they use to complete the job.

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LOOK Effects Takes on "Limitless"

Effects

Visual Effects can transport, captivate and visually illuminate a story while taking the audience places they dare to dream about.  LOOK Effects’ New York, a visual effects production facility recently worked on the visual effects for Neil Burger’s latest thriller, Limitless, staring Bradley Cooper and Robert De Niro.

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Color Correcting

Effects

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The digital intermediate (DI) is often a high-ticket item in the postproduction budget, but more and more independent filmmakers are still able to finish their films with a flourish. Even better, top-end tools from such well-respected manufacturers as Blackmagic Design and FilmLight are part of the equation.

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Editing in 3D

Editing

Df-04531_SFWAt Oasis Imagery in Hollywood, Calif., Chief Visionary Officer Scot Barbour has created the setup for the offline and finishing of the Russian 3D film Napoleon. The editor chose Avid Media Composer Nitris DX as his tool, and Barbour reports that he has set two workstations up connected to a Unity.

“There are a few choices to editing 3D,” Barbour explains. “You can cut the project with [Apple] Final Cut Pro (FCP) or Avid. One method is to use the codec CineForm, which is a great workflow when the editor wants to take it home. But you start in CineForm, you have to finish in the CineForm Neo3D codec.” Barbour likes to set up the system so that in the Avid or FCP system monitor the editor has three views: the left eye, the right eye and the combined image. “In the editing application, instead of one picture, you have three pictures to choose from,” he says.

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PANASONIC ANNOUNCES AVCCAM IMPORTER SOFTWARE ACCELERATING AND STREAMLINING IMPORT OF AVCHD FILES INTO FINAL CUT PRO

Editing

Panasonic Solutions Company has introduced AVCCAM Importer software, a QuickTime plug-in that eliminates the need to convert AVCHD files to ProRES422 files before editing in Final Cut Pro.

Read more: PANASONIC ANNOUNCES AVCCAM IMPORTER SOFTWARE ACCELERATING AND STREAMLINING IMPORT OF AVCHD FILES INTO FINAL CUT PRO

   

Audio in the Post Phase

Post Audio

The entire film and TV industry has been going digital by adopting tools and adding online and mobile platforms. But many companies, such as 5 Alarm Music, Jingle Punks and Syndicate 17, are already there as they take post audio to a whole new level. And with the proliferation of new platforms ─ from iPad and the Internet to mobile phones ─ music copyrights have become more complex.

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Light Iron Uses Quantel Pablo to Grade “The Social Network”

Digital Intermediates

Quantel’s Pablo 4K was recently used to perform final color grading and editorial finishing for David Fincher’s “The Social Network,” the first film originating on the RED One Mysterium-X sensor.

Read more: Light Iron Uses Quantel Pablo to Grade “The Social Network”

   

Modus FX Delivers Visual Effects for Source Code, the Next Duncan Jones Thriller

Effects

The Montreal-based visual effects studio Modus FX served as the lead facility for Duncan Jones' upcoming action thriller Source Code, scheduled for release on April 1. Source Code tells the story of a U.S. soldier who wakes up in the body of another man and discovers he's part of a mission to find the bomber of a Chicago commuter train - forced to relive the final 8 minutes of the incident over and over again until he finds the perpetrator. This December, Modus FX delivered over 150 shots for the film, including complex digital crowd shots, CG trains, environments and dramatic pyrotechnics.

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Artbeats Adds 3D

HD/3D

Artbeats Adds New Dimension with 3D Footage

010-C034RAnswering the growing demand for 3D elements for television and film, Artbeats, a contender in the production of high-quality stock footage, now has an immediate availability of a rapidly growing need for Stereoscopic 3D (S3D) stock footage library. The initial offerings include a variety of nature shots, plus the first S3D aerial stock footage available to the royalty-free market. New 3D content will be added monthly, including pyrotechnic, city scene, establishment, winter scene and additional aerial collections.

Read more: Artbeats Adds 3D

   

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