Archive for the ‘Technology’ Category

Blackmagic Design announced a number of updates to their flagship software package DaVinci Resolve, including additional features to the Colour, Fairlight, Edit and Cut sections. But the additional Hardware announcements have really excited editors. Commenting on the introduction of their keyboard from last year, Blackmagic have teased a new interface in the ‘Speed Editor’.

This is Blackmagic’s answer to Contour Design’s Shuttle Pro or the now aging Avid’s Transport controllers, and from the outset this looks to have a similar retro key design as their Keyboard. This controller is different to the keyboard in that it doesn’t have the traditional QWERTY keyboard layout.

Edit Keyboards

Edit Keyboards

Next Generation Editing

The DaVinci Resolve keyboards have been designed in conjunction with the cut page to make editing dramatically faster. You get physical controls that you can feel in your hands, making the experience much better than software only editing. Unlike a mouse, the machined metal search dial with soft rubber coating allows very accurate search and positioning of the timeline. It feels just like holding the timeline in your hand! Trim keys allow the search dial to be used for live trimming, which is faster because the search dial is larger and more accurate. Editing and trimming with the search dial is a whole new way to work! All of this means DaVinci Resolve is the next generation of editing!

 

Two Models

DaVinci Resolve Speed Editor

DaVinci Resolve Speed Editor

The DaVinci Resolve Speed Editor features a machined metal search dial in a design that includes only the specific keys needed for editing. It also has Bluetooth with internal battery for connecting wirelessly, or you can connect via USB-C. That means it’s more portable than a full sized keyboard!

DaVinci Resolve Editor Keyboard

The DaVinci Resolve Editor Keyboard is a full sized traditional QWERTY edit keyboard in a premium, all metal design. Featuring a machined metal search dial with clutch, it also includes extra edit, trim and timecode entry keys. It’s even designed to install via a desk cut-out for flush mounting!

DaVinci Resolve Speed Editor

DaVinci Resolve Speed Editor

Search Dial Control

The DaVinci Resolve keyboards allow a better quality editing experience because they create a physical connection to the edit that’s deeper than a simple computer mouse. The search dial is a machined metal design so it has a weighted feel and it can be spun fast to move up and down the timeline quickly. However the search dial is more than this because it can be used for live trimming! Simply press one of the trim buttons and the search dial will transform into a large adjustment knob for real time, precise trimming! Once you’ve experienced trimming with the search dial, it’s virtually impossible to go back to a mouse!

 
Dial Control

Transport Control

Hardware control panels are perfect for fast playback control! Instantly start and stop playback using the “space bar” style button that’s positioned so it can be pressed with your thumb! The shuttle, jog and scroll buttons change the functionof the search dial, so you can edit fast and accurately.

Transport Control

Source Tape for Scrolling Clips

Traditional edit software uses thousands of clips to organize your media, so you need to constantly click and drag clips to edit. That’s too slow for work such as TVCs, news, promos and training videos. However old tape based linear editing had the advantage of all media being played from a videotape, so you could simply fast forward and rewind to see all your shots! Now the cut page has a modern version of the videotape and it’s called the “source tape”. Simply push the source button and use the search dial to scroll through all your media! Plus, the current clip is highlighted live in the bin! After the edit the viewer will stay in the source tape so you can move to the next shot faster.

Source Tape for Scrolling Clips

All clips are placed end to end in the viewer

Fast In and Out Points

Entering in and out points is the most used function in editing, so the speed editor keyboard includes large in and out point buttons that you can easily locate by feel. That’s perfect for two handed editing where you’re using your right hand for transport control and your left hand is placing in and out points and performing edits. You can simply scroll along with the search dial and place in and out points anywhere you want! Once the in and out points are set, just reach your fingers up to the edit function buttons to perform the edit. The in and out points can also be used to focus the source tape. Then you can change the source tape back to the whole bin by pressing the escape key.

Fast In and Out Points

Press the in and out keys to select any range of clips for the edit.

Intelligent Keyboard Edit Modes

Intelligent Keyboard Edit Modes

Editing with a keyboard is different to editing with a mouse, so the cut page editing functions have been upgraded to take advantage of the speed of a keyboard. The edit functions are intelligent and use the “smart indicator” in the timeline to work out where to insert, so most of the time you don’t need to place in or out points in the timeline to do an edit! They are located just above the in and out keys, so are easy to locate by feel. Plus each time you edit, the cut page won’t waste time switching over to the timeline, allowing you to stay in the source tape and visually browse, placing clips continuously. That’s much faster as you can just keep throwing clips into the timeline!


Smart Insert

Smart insert is similar to the traditional insert edit function, however it’s smarter as it eliminates the need to switch to the timeline and place an in point. All you need to do is select smart insert and it will locate the nearest edit in the timeline and insert the clip in that location!

Smart Insert

Append To End

Append to end is fantastic for building edits fast. Simply select an in and out point on the clip and then append to end will add the clip to the end of the timeline. Append to end is fantastic when adding shots to an edit from content that’s been shot in time order.

Append To End

Ripple Overwrite

Ripple overwrite is a popular edit function and it lets you replace shots extremely quickly. When applied, it will replace the clip in the timeline with the selected clip and if the clip is a different length, it will adjust the space to accommodate the new clip and ripple the timeline duration.

Ripple Overwrite

Close Up

Close up is best for creating two camera angles from the one camera. Simply shoot your subject with a wide or mid shot, and then when close up is applied, it will create a slightly zoomed in version of the same camera shot and place it on top of the timeline.

Close Up

Place On Top

Place on top is similar to traditional edit functions and this edit mode will place the clip on top of the background layer that’s already in the timeline. If the timeline doesn’t have a layer above the background layer, it will add a new timeline track and then place the clip on top.

Place On Top

Source Overwrite

When shooting with multiple cameras and sync timecode, source overwrite lets you browse shots and add cutaways to your timeline. It automatically matches the clip timecode to the timecode of the timeline and places the clip in sync on the layer above. It’s a simpler alternative to multi‑cam!

Source Overwrite
Search Dial Live Trimming

Search Dial Live Trimming

With a large high quality search dial built into the panel, you get an extremely accurate way to trim shots. With the search dial being such a physically large control, it completely transforms how it feels to trim shots. Plus it’s much faster too! The trim buttons will change the search dial into a trim control and you simply hold the trim buttons and rotate the search dial. This means you can select various trim modes with your left hand while adjusting the trim with your right. It’s extremely fast and the smart indicator in the timeline will let you know which edit you’re trimming. Just move along the timeline and live trim edits. It’s a whole new way to work!


Trim In

Trim in will adjust the in point of the clip to the right of the transition highlighted in the timeline via the smart indicator. However adjusting trim in on a single clip will reposition the in point on the clip. All adjustments will ripple the timeline duration.

Trim In

Trim Out

Trim out will adjust the out point of the clip to the left of the transition highlighted in the timeline via the smart indicator. However adjusting trim out on a single clip will reposition the out point on the clip. All adjustments will ripple the timeline duration.

Trim Out

Roll

Roll is the same function as clicking the transition point to adjust it with the mouse, however it’s frame accurate because it uses the search dial. It works by rolling the transition point up and down. Double pressing will change its function to slide. Plus it doesn’t affect the timeline duration.

Roll

Slip Source

Slip source affects the clip to the left of the edit and it will slide the shot up and down within the current clip’s in and out point positions in the timeline. Because slip source moves the clip within the same duration, it won’t affect the overall timeline duration.

Slip Source

Slip Destination

Slip destination affects the clip to the right of the edit and it will slide the shot up and down within the current clip’s in and out point positions in the timeline. Because slip destination moves the clip within the same duration, it won’t affect the overall timeline duration.

Slip Destination

Transition Duration

One of the most popular trim controls, transition duration will adjust the duration of an effect on the edit point. When selected, adjusting the search dial will live adjust the duration of the transition. Double pressing the transition duration button will set default transition duration.

Transition Duration

The Faster Way to Add and Remove Effects!

Editing software can be slow at adding transitions to edits because you have to click and drag effects down into the timeline. However, with the DaVinci Resolve Speed Editor, you can just press a button to switch them on and off! It’s really fast as you can scroll down the timeline adding or removing effects! The smart indicator in the timeline will let you know which edit point will be affected, and you can move the timeline to move the edit point in focus. The cut key will remove any effect on an edit point in the timeline. Pressing dissolve adds a dissolve to the edit point using the default duration. Pressing the smooth cut button adds a smooth cut so you can eliminate jump cuts!

Cut


Before

After

Dissolve


Before

After

Smooth Cut


Before

After

Function Keys

Function Keys

The DaVinci Resolve Speed Editor eliminates the large QWERTY keyboard for a smaller more portable design, so the function button area includes only the controls you need for editing. Some of the enhanced function keys on the DaVinci Resolve Speed Editor are not even available on the full sized editor keyboard! Plus, some keys have an alternative function where you can press and hold or double press to get a second function using the same key. That means you need less keys for a more portable design, but it still retains a lot of editing power. The keys are in a separate group so you can find the key you need by feel and operate faster than a regular keyboard.


Escape and Undo

The escape key is positioned to the top left so it’s easy to locate, as it’s the most common key for reversing some functions. A good example is the sync bin and if you select a camera, you can go back to the multiview by selecting this escape key. Plus, if you double press it, it works as undo!

Escape and Undo

Sync Bin

The sync bin is a new style of multi-cam and it allows you to find shots that are sync’d to the current shot in the timeline. That lets you find cutaways using a familiar multiview interface! Then use the camera keys to select an alternative shot, and source overwrite to edit it into the timeline!

Sync Bin

Audio Level and Markers

The audio level key lets you quickly set audio levels of clips by holding the key and adjusting the level using the search dial. That’s a fast way to set audio levels while editing! Double pressing the key lets you add a marker, and double pressing and holding allows you to set the marker color!

Audio Level and Markers

Full Screen Viewer

The full screen button is highlighted red so you can find it quickly and switch to a full screen view of your viewer. That’s great for presenting your edit to clients! Plus if you double press the full view button, it will go into full screen view and play from just before your most recent edit!

Full Screen Viewer

Add Transition

The transition button is similar to the cut and smooth cut buttons, however it will add a custom transition of your choice from a pallet of all the available DaVinci Resolve transitions. If you press and hold the transition button you’ll see the pallet appear allowing selection of the one you want.

Add Transition

Split and Move

The split button will instantly cut the clip in the timeline at the current playback point. If you’re positioned on a split in a clip, then pressing the split button will remove the split. If you press and hold, you can use the search dial to move the current clip up and down the timeline!

Split and Move

Snap and Viewer Size

Pressing snap will turn on snapping in the timeline. Snapping on the speed editor is different, as it’s not magnetic so it’s more subtle! It works by momentarily pausing jog at the edit points so it’s nicer to use! Or if you press and hold, the search dial will let you adjust the viewer size.

Snap and Viewer Size

Ripple Delete

Ripple delete removes the current clip at the playback point then ripples the timeline to fill the space left by the deleted clip. This eliminates any blank spaces in the timeline. You can use it with split to remove parts of shots you don’t want. Plus, it will also reduce your timeline duration

Ripple Delete

Sync Bin Multi Camera Selection

The camera number section lets you select the cameras when using the cut page sync bin. Plus, if you press a camera number while turning the search dial, the selected camera will be applied to the timeline in real time as you jog forward. This feature is called live override and on the speed editor panel you can do it momentarily by holding the camera button, or you can latch it on using the live override button. When live override is latched on, the buttons light up and you can select cameras just like a production switcher! You will see a multiview and you can just cut from camera to camera! Plus, this section even has the video only and audio only buttons for greater editing control!

Sync Bin Multi Camera Selection

Both Bluetooth and USB Control

The DaVinci Resolve Speed Editor model includes built in Bluetooth so you can use the keyboard without messy wires, and you can even use it in conjunction with your regular computer keyboard. That’s perfect for using it with a laptop. You can also use the keyboard via USB if required and the USB connection will also charge the internal battery. With Bluetooth and a built in battery, the keyboard is extremely portable!

Both Bluetooth and USB Control

FULL SPEC ON THE SPEED EDITOR HERE

This release is more exciting for editors than their previous QWERTY keyboard they announced last year and it will be interesting to see the completed breakdown of the hardware once Blackmagic update their website. The ability to be wireless and battery operated is a major attraction for the editors on the go as well as in the editors in the suite.

PRICE

$295 (€250 approx)

FREE with a Purchase of DaVinci Resolve Studio. (RESELLERS ONLY NOT ONLINE)

Available in the next few months or Early 2021.

(As per Video & Film Maker.com Website )

RØDE Microphones has announced the return of the World’s Largest Short Film Competition, My RØDE Reel. Now in its 7th year, RØDE has once again upped the ante with a monumental $1 million in cash to be won. This the biggest cash prize ever offered in a short film competition, affirming My RØDE Reel as the essential calendar event for filmmakers around the world. Entries are open now and close Wednesday, October 7.

What is My Røde Reel?

My RØDE Reel is the World’s Largest Short Film Competition. Over the last six years, more than 16,000 films have been submitted to the competition from 94 different countries, with RØDE awarding over $3.5 million in prizes to both emerging and established filmmakers. My RØDE Reel has launched hundreds of careers through providing a global platform for filmmakers to gain exposure, offering grants and scholarships, and giving away tonnes of RØDE microphones and filmmaking gear. In 2020, My RØDE Reel is bigger and better than ever.

The Prizes & Categories

The winners of My RØDE Reel 2020 will receive a share of US $1 million, the biggest cash prize ever offered in a short film competition.

This announcement comes off the back of RØDE Founder and Chairman Peter Freedman’s purchase of Kurt Cobain’s iconic ‘MTV Unplugged’ guitar for a world record-breaking US $6.01 million at auction. The guitar was bought to spotlight the struggles of the global arts industry; Mr. Freedman plans to take it on a worldwide tour of exhibitions, with all proceeds (including the guitar) going to the performing arts.

“Giving creatives a leg up has always been fundamental to what we do as a company,” says RØDE CEO Damien Wilson. “Whether it’s been through giving away gear, awarding scholarships or providing a platform to get their work in front of a huge audience, the objective of My RØDE Reel has always been to help filmmakers take the next step in their career.”

“We are incredibly excited to be giving away this massive cash prize,” he continues. “People in the film industry are doing it tough right now. This year, we wanted to not only give entrants the chance to win RØDE mics and awesome gear, but also offer a substantial amount of money to help kickstart the career of the next big thing, fund new projects, or cover living expenses so filmmakers can continue to work through these trying times. This money will make a big difference for a lot of people.”

The top three films for each of the competition categories will win a share in the $1 million cash prize pool, except for the major prize, the Judges’ Choice, which has just one life-changing prize of $200,000.

There are 10 categories in total: five genre categories – Drama, Comedy, Action, Documentary, Animation and Behind-The-Scenes – and five special categories – Judges’ Choice, People’s Choice, Sound Design, Young Filmmaker, and Best Chinese Film. All-in-all, 28 filmmakers will win a share in the prize money.

As well as this incredible cash prize pool, RØDE is giving away a prize pack to the winners of the 10 categories. These are loaded with gear from the world’s leading filmmaking brands, including LUMIX, Nanlite, Zhiyun, Mzed, Musicbed, Rhino, Adobe, Brevite, Pelican, ARRI and, of course, RØDE microphones and accessories. Combined with the cash, this brings the total prize pool to over $1.5 million, by far the biggest offering for any short film competition.

Visit the My RØDE Reel website for more information on the prizes and categories.

How To Enter

  • Head to myrodereel.com and log in or sign up for an account to access the starter pack. This contains the My RØDE Reel title card, which must feature at the start of your film.
  • Make a 3-minute short film. The brief is completely open – use the different categories to inspire the direction of your film.
  • Make a 3-minute behind-the-scenes (BTS) film, which must feature a RØDE product.
  • Upload your short film and BTS film to YouTube, then submit this link to myrodereel.com.
  • Share your film for a chance to win a People’s Choice Prize.

For the full details on how to enter, head to myrodereel.com and log in or sign up for an account. This contains the starter pack, information on the competition, freebies, tips, inspiration and more.

Entries are open now and close at 12PM (AEDT/GMT+10) Wednesday, October 7, 2020.
Head to myrodereel.com for more info

RØDE Microphones: www.rode.com

An article By Fred Ginsburg, CAS, Ph. D.

The first semester of having to teach online is over. It was a unique experience both for faculty as well as students. Some were able to handle it fairly well; we are a profession of technically adept filmmakers, after all.

But with the high probability of the Fall 2020 semester also being primarily online, and maybe even the following Spring 2021 (depends on when we see pharmacologic solutions), many students are having second thoughts about continuing their education. They are thinking, “Is it worth it? Maybe this is the time to take a semester or two off?”

Initially, the thought of taking a long sabbatical makes sense. Learning online is not the most effective means to learn filmmaking. After all, the production of films involves a lot of hands-on and close social activity. Only the act of scriptwriting is a solitary vocation.

However, as much as most of us Production Faculty want to reassure ourselves that the hands-on components of what we teach is state-of-the-art and irreplaceable – the realistic fact is that we only cover the tip of the iceberg.

Most of what we teach involves mindset and understanding the basic principles of our technical crafts (cinematography, editing, audio, etc.). It is not so much about the specific equipment, but what to do with said equipment in order to communicate.

This semester made me realize that most of what I had to share with my students was an understanding of how and why we do what we do on the set. I recalled the first thing that I concluded after leaving college with a freshly printed diploma and transcript. Working with seasoned professionals in Hollywood taught me more (technically) in several weeks than I had learned over four years on campus! The equipment and technology were way beyond the amateur levels provided by our film department.

However, my overall understanding of aesthetics and production flow was equal, if not sometimes superior to that of the veteran crew around me. So, my education was successful in terms of teaching me the big picture. I knew the principles of lighting, just not the nicknames of all the Mole-Richardson lights nor how to thread up a 35mm ARRI. I understood what was necessary to record on set, just not how to operate the fancy mixing panels and other gear.

The point that I am making is that most of what you will ultimately derive from a college degree in film/video/media does not rely solely on hands-on experience. It comes from learning the underlying thought processes, goals, and mindset of a professional. It goes hand in hand with learning the fundamental concepts of filmmaking, including the aesthetics, art, and business aspects.

It is about being pointed in the right direction, so that you know what you need to continue mastering on your own. What instructional videos to watch on the internet, what software is essential, and the industry standards. Seminars and workshops sponsored by guilds and manufacturers. User groups.

Practical Considerations Against Postponing College

By continuing to attend online, you keep your mind sharp and progress through your degree program. Sure, you will miss out a lot of the hands-on experience, but as I have learned in my many years of life on this planet: most of the hands-on training that you get at the majority of even the elite film programs does not equate to the levels that we operate at in the industry.

Your degree in film is not respected for what a college may or may not prepare you for in terms of hardware proficiency. That is a skillset that you can rapidly acquire with but a few weeks of workshops and seminars. On your own, or through post-curricular events sponsored by your college department.

For example, the department in which I teach has had numerous discussions regarding conducting special sessions as soon as it is deemed safe to do so, with many instructors even volunteering their own time and resources to make these happen. (When you leave Hollywood in order to teach, it certainly is not for the money!)

As a student, keep in mind that many of your classes are outside of the production realm. Writers learn much from understanding psychology, sociology, and history. Producers and freelancers should master accounting, contract law,  and other business-related subjects.

If you do decide to take time off, what do you plan on doing with it?

Internships, during a pandemic, are scarce – and rarely involve any hands-on due to social distancing.

Earn money while you are no longer in college? Doing what? The economy is barely hiring right now, unless you want to be a delivery driver. Retail establishments are more concerned about hiring back some of the people that they had to lay off. There is no great rush to bring in a bunch of high school grads (who did not complete college yet) and offer them enticing positions.

But let’s pretend that money is not the issue. You could travel the world and experience a diversity of cultures. Or maybe not, on account of this virus thing.

Having spent six months or a year sitting around in a mask and bored like hell – you decide that you are ready to return to campus…

Although the colleges may be eager for you to re-enroll, they cannot guarantee your spot in the film program. Your original “class” of film students has progressed in their academic hierarchy and are now in the more advanced courses of the curriculum. You can no longer team up with your old friends on projects.

You now have to compete, not only with all of the new students entering (or progressing) in your program, but also with all of the returning “time off-ers”.

COVID-19 has forced budget cuts at all of the colleges. Courses may not have been cut, but it is unlikely that the number of courses/sections will be increased. Departments have limited production equipment, edit bays, computer labs, screening rooms, soundstages, control rooms, large classrooms, and other physical facilities.

So even if the academic administrators approved opening up additional sections of some courses and were willing to pay the instructors, there still may not be enough resources to support that many new students in the program.

Learn what you can, while you can

Going back to college after months away can be particularly challenging from a mental standpoint. Think about how hard it is to get back into an academic routine after just a summer break!

It will be even harder after a semester or two away!

And the film industry will not welcome you without a college degree. But they will not be as concerned about your lack of hands-on set experience compared to what they may think of your lack of a focused college degree in the field.

Trust me. Once things settle down in terms of the virus, there will be lots of opportunities to get up to speed with the latest gadgets. Even with 40 years professional experience and a holder of three degrees in filmmaking (B.A., M.A., Ph.D. ), I still have to strive to keep up with all of the technological advancements raining down on our industry every year. Workshops and seminars abound.

But that decision to postpone the completion of your college degree could cost you dearly. A year of “life experience” will not equate too much in the way of practical experience. But it could easily cost you your spot in an elite film program.

Is it really worth losing a year, just because you may not get as much hands-on production experience as you will in the first few weeks after you graduate?

Fred Ginsburg, CAS, Ph.D., is a highly experienced and award winning professional sound mixer whose decades of work includes features, episodic TV series, national TV commercials, corporate, and government. He is a member of the Cinema Audio Society and the University Film & Video Association. Fred holds doctorate, graduate, and undergraduate degrees in filmmaking; has published more than 200 technical articles along with a textbook, instruction manuals, and hosts an educational website. Fred instructs location recording and post-production sound at Calif State University Northridge

On the back of this very well composed article and if you are trying to decide on the Change of Mind CAO option, then please check out the Creative Technologies Programmes at LSAD.

Creative Broadcast & Film Production

Music Technology & Production

Thinking about the C.A.O. and the change of mind option. Why not check out the LSAD Creative Technologies Programmes at the Moylish Campus.

Creative Broadcast & Film Production

Music Technology & Production

(Click on the titles for more info)

 

In light of the ongoing COVID-19 pandemic, this year’s Graduate Show takes the form of an online showcase to celebrate the resilience, creativity and talent of our final year students.

This has been a very difficult time for our staff and students, but the indomitable spirit of LSAD and LIT has shone through. We have 228 highly talented people leaving LSAD, LIT at this juncture. These are students who have come through the most difficult of times.

We would like to thank everyone for their work and dedication to this wonderful documentary, the LSAD graduate wesite and all the hard work in between.
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The class of 2020’s collections are now live on http://www.lsadgraduates.ie/
Please head over, take a look and enjoy!

 

LSAD Graduate Show Promo. Special thanks to Pat Shortt, Mark Griffin, Daragh Dukes and all the contributors from LSAD and LIT. Tune into the Facebook page at 3pm Sat 30th May, to see the programme featuring LSAD Students’ work and a few special guests!!!

Click on image to goto the link to register.

 ‘To cut a long story short’,

Online workshop for aspiring film editors hosted by Film in Limerick 

Free online workshop will explore the art of editing and career opportunities in the field 

Media Release Thursday 7 May 2020 

Simon at his edit suite.

Innovate Limerick through Film in Limerick is delighted to announce that local film editor Simon McGuire, will join us Wednesday 6 May at 2pm for a free online webinar on working as a film editor. 

The workshop is the latest in the Wednesday Workshops series and is open to anyone in the Mid-West with an interest in filmmaking. 

With over twenty five years’ experience in film and broadcast editing, with credits including; RTÉ’s Killinaskully, Mattie and Kevin Liddy’s, The Suffering Kind. Simon lectures on the craft of editing at Limerick School of Art & Design (LIT), and is currently undertaking a Doctorate of Education in Creative Media Practice at Bournemouth University, UK. 

The workshop, titled ‘To cut a long story short’, will explore Simon’s process and the craft of editing as well as the tools he uses to create stories. The session will also focus on work opportunities in Ireland and further training possibilities for aspiring and developing editors. 

Editing time line for the short film ‘Before His Eyes’ (2020). Director, Paul Boyle.

Regional Film Manager, Paul C. Ryan, says: “we are thrilled that Simon will be joining us for what promises to be a really useful workshop for anyone aspiring to develop a career as a full-time editor in Ireland. Simon is one of our most talented editors and a great champion for film students in the region. 

The workshop is the fifth of 10 free online ‘Wednesday Workshop’ events that 

Film in Limerick is running for aspiring and practicing filmmakers in the MidWest. The initiative is supported by Limerick and Clare Education and Training Board. 

Register for the event here 

Editing timeline for ‘The Suffering Kind’ Director, Kevin Liddy

Editing Timeline for the Limerick documentary. ‘The Picture House’

The latest version of Avid Media Composer 2020.4 is now compatible with Apple macOS Catalina. Check out the article below for a full report.

http://www.avidblogs.com/avid-media-composer-apple-macos-catalina-support-and-the-universal-media-engine/?utm_medium=organicsocial&utm_source=facebook&utm_content=1587797150

 

Hi all

Following yesterdays post, here is the new documentary by Jon Lefkovitz;

Sight & Sound: The Cinema of Walter Murch.

or watch it here:

SIGHT & SOUND: The Cinema of Walter Murch from Jon Lefkovitz on Vimeo.

 

Released on March 27th 2020, via Vimeo, is the new documentary on the work and craftsmanship of acclaimed award winning Editor/ Sound Editor, Walter Murch ACE.

Directed by Jon Lefkovitz this documentary is:

An exploration of the films and philosophy of legendary editor and sound designer Walter Murch (‘The Conversation’, ‘Apocalypse Now’), as told in his own words. (Note: Seen and enjoyed by Mr. Murch.)

(IMDB)

This will be one for the editors as well as all film makers and you can check out more from the director here….

https://vimeo.com/user5730380

For now here is the Trailer: