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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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3-Dimensional Discoveries

Just a few years ago, 3D rigs, monitors and other production gear were few and far between and hence quite expensive to rent, let alone to buy. Moreover, much of what existed, especially in terms of 3D camera rigs, was large, heavy and fairly immobile. Today, the number and size range of rigs and integrated cameras are growing steadily as is the toolset of peripherals for improving and simplifying 3D production.

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The Rocky Mountain Highs of Production

The Rocky Mountain region stretches some 3,000 miles from Canada to the United States’ southwest and crossing Idaho, Montana, Wyoming, Utah and Colorado along the way. It’s a refreshing backdrop that offers productions unique and varied scenery that can work just as well in a Land Rover commercial as in a National Geographic documentary.

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Louisiana Film Production Outranks California

More films are currently being made in Louisiana than Los Angeles. As these productions venture out of California, many are chasing the tax incentives offered by the state of Louisiana. According to a recent Fox 8 news report, Louisiana ranks third behind New York and California in total production activity, and more movies were shot in Louisiana than in Los Angeles in 2010. It was also reported that 80 percent of Louisiana’s below-the-line crews are comprised of local workers.

Click Here to see the full story at Fox8live.com.

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3ality Digital Acquires Element Technica

3ality Digital, a leading innovator of S3D production technology for the entertainment industry, has acquired Element Technica, a company long-known for its manufacturing expertise, accessories and mechanical engineering of motorized S3D camera rigs. 3ality Digital gains an in-house manufacturing and design capability and the opportunity to further expand its R&D infrastructure. The newly named 3ality Technica will provide the combined assets of both companies and product lines and will be located in 3ality Digital’s expanded headquarters in Burbank, Calif.

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Hollywood Production House Raises $220.5 Million for Chinese Studio

This announcement about another Hollywood-China deal was just posted to the Hong Kong Stock Exchange website in the past hour.

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Captain America: The First Avenger Captured with Canon EOS 5D Mark ll

captian-america_web-story_v2It was announced from Canon U.S.A. that Captain America: The First Avenger, used Canon EOS 5D Mark II Digital SLR cameras to capture many of the movie’s action shots.  Throughout the super hero action picture, the 5D Mark II was used to shoot motion sequences that were seamlessly integrated with the production’s 35mm film footage.

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Capturing 3D Storm Footage

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Choosing a profession is a decision we all have to make at some point in our adult life. For Martin Lisius, the choice was easy. He became a cinematographer and producer of programming that covers severe weather, including thunderstorms, stormy seas, blizzards and chasing the mother of all natural disasters: tornados. And after shooting these events, he sells the footage to production companies where it can be used in their film projects.

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Top 10: United States of Production

As runaway production took a toll on the U.S. in the 1990s, the country fought back by introducing its own competitive incentives. By 2010, 46 U.S. states and territories had introduced individual tax credit and rebate programs and saw an estimated $60 billion in television, movie and video production revenue. Once a year, P3 Update lists 10 states in the nation that offer the most attractive combination of tax incentives, crew base, talent pool, infrastructure, accessibility, significant production revenue and overall popularity among filmmakers.

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