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Late Night with Seth Meyers associate director/lead editor Dan Dome
By Randi Altman

You could say that editing runs through Dan Dome’s veins. Dome, associate director of post at Late Night with Seth Meyers, started in the business in 1994 when he took a job as a tape operator at National Video Industries (NVI) in New York.

Dome grew up around post — his dad, Art, was a linear videotape editor at NVI, working on Shop Rite spots and programming for a variety of other clients. Art had previously edited commercials for such artists as Kiss and was awarded a gold record for Kiss Alive 2. Dome loved to go in and watch his dad work. “I saw that there were a lot of machines and I knew he put videos together, but I was completely clueless to what the real process was.”

Dome’s first job at NVI was working in the centralized machine room as a tape operator. “I learned how to read a waveform monitor and a vectorscope, how to patch up Betacam SP, 1-inch and D2 machines to linear edit rooms, insert stages, graphics and audio suites. I also learned how to change the timings of the switcher through a proc amp — the nuts and bolts.”

This process proved to be invaluable. “Being able to have an understanding of signal flow on the technical side helped a ton in my career," he explains. "A lot of post jobs are super technical. You've got to know the software and you've got to know the computers and machines; those were the fundamentals I learned in the machine room. I had to learn it all.”

 
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Review: Maxon’s Cinema 4D R17
By Brady Betzel

Over the years, I have seen Maxon take Cinema 4D from something that only lived on the periphery of my workflow to an active tool alongside apps such as Adobe After Effects and Adobe Premiere and Avid’s Media Composer/Symphony.

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Shooting Creatively: Red Bull, BMX
and the Silverdome

By Alex Horner

I’m a director/DP based out of Minneapolis with seven years of experience in commercials and branded content under my belt. I seek to find untold stories in the least expected places. While some prefer to have every bit of their shoot follow a specific path on location, I welcome the challenge of unfamiliar places, different ideas and variable scenarios.

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Behind the Title: Harbor Picture’s
head of dailies Jamie Payne

This week we spoke to Harbor Picture Company’s head of dailies, Jamie Payne, about the importance of knowing every aspect of the workflow and what being “guardian of the image” means to him and Harbor.

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MPC goes into the storm for Disney’s The Finest Hours

SGO Mistika now compatible with AJA’s Kona, Corvid

Reid Burns named president of post at Cognition


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