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Postproduction

Stock Footage on Demand

stockfootage_footagefirmsfwWhen productions need extra footage to enhance their films, they usually turn to stock footage companies to streamline the process.

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The Editors’ Alliance

Unions are a fact of life in Hollywood, as they protect work conditions and wages for just about every position both in front of and behind the camera. The Motion Picture Editors Guild (MPEG), which is a part of the International Alliance of Theatrical Stage Employees (IATSE), represents people in just about every aspect of postproduction for film and television, including picture editors, sound editors, mixers, effects editors, music editors, Foley artists and even story analysts.

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Commercial Cuts

It takes a special breed of talent to edit commercials. Specialty editors in the world of 30-second commercial spots describe it as fun and fast with a turnaround of a few days to a week. “You’re not on something for months; you’re on it for a few days,” says Matthew Wilson, the in-house editor for danAppelcreative in Los Angeles, Calif.

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DI Comes in All Sizes

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"

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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