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MPI restores The Wizard of Oz in 4K HDR

By Barry Goch

The classic Victor Fleming-directed film The Wizard of Oz, which was released by MGM in 1939 and won two of its six Academy Award nominations, has been beautifully restored by Burbank’s Warner Bros. Motion Picture Imaging (MPI).

To share its workflow on the film, Continue reading

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Marriage Story director Noah Baumbach

By Iain Blair

Writer/director Noah Baumbach first made a name for himself with The Squid and the Whale, his 2005 semi-autobiographical, bittersweet story about his childhood and his parents’ divorce. It launched his career, scoring him an Oscar nomination for Best Original Screenplay.

His latest film, Continue reading


Colorist Chat: Nice Shoes’ Maria Carretero on Super Bowl ads, more

This New York based colorist, who worked on four Super Bowl spots this year, talks workflow, inspiration and more.

Name: Maria Carretero

Company: Nice Shoes

What kind of services does Nice Shoes offer?
Nice Shoes is a creative studio with color, Continue reading


Sundance Videos: Editor to Editor

Our own Brady Betzel headed out to Park City this year to talk to a few editors whose films were being screened at the Sundance Film Festival.

As an editor himself, Betzel wanted to know about the all-important workflow, but also about how they got their start in the business and how important it is to find a balance between work life and personal life. Continue reading


Behind the Title: Harbor sound editor/mixer Tony Volante

“As re-recording mixer, I take all the final edited elements and blend them together to create the final soundscape.”

Name: Tony Volante

Company: Harbor

Can you describe what Harbor does?
Harbor was founded in 2012 to serve the feature film, Continue reading


An online editor’s first time at Sundance

By Brady Betzel

I’ve always wanted to attend the Sundance Film Festival, and my trip last month did not disappoint. Not only is it an iconic industry (and pop-culture) event, but the energy surrounding it is palpable.

Once I got to Park City and walked Main Street — with the sponsored stores (Canon and Lyft among others) and movie theaters, Continue reading


Talking with 1917’s Oscar-nominated sound editing team

By Patrick Birk

Sam Mendes’ 1917 tells the harrowing story of Lance Corporals Will Schofield and Tom Blake, following the two young British soldiers on their perilous trek across no man’s land to deliver lifesaving orders to the Second Battalion of the Devonshire Regiment.

The story is based on accounts of World War I by the director’s grandfather, Continue reading


Review: Neat Video 5 noise reduction plugin

By Brady Betzel

One of the best (and most underrated) tricks in an online editor’s tool kit is to have good image restoration techniques. Removing digital video imperfections — from flicker to digital video noise — is not easy, and not easy to do well. That is, unless you have good noise reduction software like Neat Video. Continue reading

Oscar-nominated Jojo Rabbit editor Tom Eagles: blending comedy and drama

By Daniel Restuccio

As an editor, Tom Eagles has done it all. He started his career in New Zealand cutting promos before graduating to assistant editor then editor on television series such as Secret Agent Men and Spartacus. Eventually he connected with up-and-coming director Taika Waititi and has worked with him on the series What We Do in the Shadows and the critically acclaimed feature Hunt for the Wilderpeople. Continue reading

Wylie Stateman on Once Upon a Time… in Hollywood‘s Oscar nod for sound

By Beth Marchant

To director Quentin Tarantino, sound and music are primal forces in the creation of his idiosyncratic films. Often using his personal music collection to jumpstart his initial writing process and later to set a film’s tone in the opening credits, Tarantino always gives his images a deep, multi-sensory well to swim in. Continue reading

Colorist Chat: Light Iron supervising colorist Ian Vertovec

“As colorists, we are not just responsible for enhancing each individual shot based on the vision of the filmmakers, but also for helping to visually construct an emotional arc over time.”

NAME: Ian Vertovec

TITLE: Supervising Colorist

COMPANY: Light Iron

CAN YOU DESCRIBE YOUR ROLE IN THE COMPANY? Continue reading

Rob Legato talks The Lion King‘s Oscar-nominated visual effects

By Karen Moltenbrey

There was a lot of buzz before — and after — this summer’s release of Disney’s remake of the animated classic The Lion King. And what’s not to love? From the animals to the African savannas, Disney brought the fabled world of Simba to life in what is essentially a “live-action” Continue reading

Adobe Premiere Productions: film projects, collaborative workflows

By Mike McCarthy

Adobe announced a new set of features coming to its NLE Premiere Pro. They now support “Productions” within Premiere, which allows easier management of sets of projects being shared between different users. The announcement, which came during the Sundance Film Festival, is targeted at filmmakers working on large-scale projects with teams of people collaborating on site. Continue reading

Behind the Title: Sound Lounge ADR mixer Pat Christensen

This ADR mixer was a musician as a kid and took engineering classes in college, making him perfect for this job.

Name: Pat Christensen

Company: Sound Lounge (@soundloungeny)

What’s your job title?
ADR mixer

What does Sound Lounge do? Continue reading

Quick Chat: Director Sorrel Brae on Rocket Mortgage campaign

By Randi Altman

Production company Native Content and director Sorrel Brae have collaborated once again with Rocket Mortgage’s in-house creative team on two new spots in the ongoing “More Than a House” campaign. Brae and Native had worked together on the campaigns first four offerings.

The most recent spots are More Than a Tradition and More Than a Bear. Continue reading

Review: FilmConvert Nitrate for film stock emulation

By Brady Betzel

If you’ve been around any sort of color grading forums or conferences, you’ve definitely heard some version of this: Film is so much better than digital. While I don’t completely disagree with the sentiment, let’s be real. We are in a digital age, and the efficiency and cost associated with digital recording is, Continue reading

Director James Mangold on Oscar-nominated Ford v Ferrari

By Iain Blair

Filmmaker James Mangold has been screenwriting, producing and directing for years. He has made films about country legends (Walk the Line), cowboys (3:10 to Yuma), superheroes (Logan) and cops (Cop Land), and has tackled mental illness (Girl Interrupted) as well. Continue reading

Talking with Franki Ashiruka of Nairobi’s Africa Post Office

By Randi Altman

After two decades of editing award-winning film and television projects for media companies throughout Kenya and around the world, Franki Ashiruka opened Africa Post Office, a standalone, post house in Nairobi, Kenya. The studio provides color grading, animation, visual effects, motion graphics, compositing and more. In addition, Continue reading

Behind the Title: Design director Liron Eldar-Ashkenazi

NAME: Liron Eldar-Ashkenazi  (@iamlirona)

WHAT’S YOUR JOB TITLE?
Design Director

WHAT DOES THAT ENTAIL?
I help companies execute on their creative hopes and dreams, both hands-on and as a consultant and director.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE? Continue reading

Directing bookend sequences for Portals, a horror anthology film

By Hasraf “HaZ” Dulull

Portals is a genre-bending feature film anthology focusing on a series of worldwide blackouts — after which millions of mysterious objects appear everywhere across the planet. While many flee from the sentient objects, some people are drawn toward and into them with horrifying consequences.

The film was in the final stages of post when writer/director Liam O’Donnell (Beyond Skyline and the upcoming Skylines film) called to see if I would like to get involved and direct some bookend sequences to add more scope and setup, Continue reading

Review: HP’s ZBook G6 mobile workstation

By Brady Betzel

In a year that’s seen AMD reveal an affordable 64-core processor with its Threadripper 3, it appears as though we are picking up steam toward next-level computing.

Apple finally released its much-anticipated Mac Pro (which comes with a hefty price tag for the 1.5TB upgrade), and custom-build workstation companies — like Boxx and Puget Systems — can customize good-looking systems to fit any need you can imagine. Continue reading

DP Chat: The Grudge’s Zachary Galler

By Randi Altman

Being on set is like coming home for New York-based cinematographer Zachary Galler, who as a child would tag along with his father while he directed television and film projects. The younger Galler started in the industry as a lighting technician and quickly worked his way up to shooting various features and series. Continue reading

Maryanne Brandon’s path, and editing Star Wars: The Rise of Skywalker

By Amy Leland

In the interest of full disclosure, I have been a fan of both the Star Wars world and the work of J.J. Abrams for a very long time. I saw Star Wars: Episode IV – A New Hope  in the theaters with my big brother when I was five years old, Continue reading

Uncut Gems directors Josh and Benny Safdie

By Iain Blair

Filmmakers Josh and Benny Safdie have been on the verge of the big time since they started making their own distinctive brand of cinema: one full of anxiety, brashness, untamed egos and sweaty palms. They’ve finally done it with A24’s Uncut Gems.

Following their cinema verité Heaven Knows What — with its look at the New York City heroin subculture — and the crime thriller Good Time, Continue reading

VFX pipeline trends for 2020

By Simon Robinson

A new year, more trends — some burgeoning, and others that have been dominating industry discussions for a while. Underpinning each is the common sentiment that 2020 seems especially geared toward streamlining artist workflows, more so than ever before.

There’s an increasing push for efficiency; not just through hardware but through better business practices and solutions to throughput problems. Continue reading

ILM’s Pablo Helman on The Irishman‘s visual effects

By Karen Moltenbrey

When a film stars Robert De Niro, Joe Pesci and Al Pacino, well, expectations are high. These are no ordinary actors, and Martin Scorsese is no ordinary director. These are movie legends. And their latest project, Netflix’s The Irishman, is no ordinary film. It features cutting-edge de-aging technology from visual effects studio Industrial Light & Continue reading

Talking work and trends with Wave Studios New York

By Jennifer Walden

The ad industry is highly competitive by nature. Advertisers compete for consumers, ad agencies compete for clients and post houses compete for ad agencies. Now put all that in the dog-eat-dog milieu of New York City, and the market becomes more intimidating.

When you factor in the saturation level of the audio post industry in New York City — where audio facilities are literally stacked on top of each other (occupying different floors of the same building or located just down the hall from each other) — then the odds of a new post sound house succeeding seem dismal. Continue reading

DP Chat: The Morning Show cinematographer Michael Grady

By Randi Altman

There have never been more options to stream content than right now. In addition to veterans Netflix, Amazon and Hulu, Disney+ and Apple TV+ have recently joined the fray.

In fact, not only did Apple TV+ just launch last month, its The Morning Show — about what goes on behind the scenes on, Continue reading

A Beautiful Day in the Neighborhood director Marielle Heller

By Iain Blair

If you are of a certain age, the red cardigan, the cozy living room and the comfy sneakers can only mean one thing — Mister Rogers! Sony Pictures’ new film, A Beautiful Day in the Neighborhood, is a story of kindness triumphing over cynicism. It stars Tom Hanks and is based on the real-life friendship between Fred Rogers and journalist Tom Junod. Continue reading

Behind the title: Cutters editor Steve Bell

“I’ve always done a fair amount of animation design, music rearranging and other things that aren’t strictly editing, but most editors are expected to play a role in aspects of the post process that aren’t strictly editing.”

Name: Steve Bell

What’s your job title?
Editor

Company: Cutters Editorial

Can you describe your company? Continue reading

Review: The Sensel Morph hardware interface

By Brady Betzel

As an online editor and colorist, I have tried a lot of hardware interfaces designed for apps like Adobe Premiere, Avid Media Composer, Blackmagic DaVinci Resolve and others. With the exception of professional color correction surfaces like the FilmLight Baselight, the Resolve Advanced Panel and Tangent’s Element color correction panels, Continue reading

Ford v Ferrari’s co-editors discuss the cut

By Oliver Peters

After a failed attempt to acquire European carmaker Ferrari, an outraged Henry Ford II sets out to trounce Enzo Ferrari on his own playing field — automobile endurance racing. That is the plot of 20th Century Fox’s Ford v Ferrari, directed by James Mangold. In the end, Continue reading

Storage for Visual Effects

By Karen Moltenbrey

When creating visual effects for a live-action film or television project, the artist digs right in. But not before the source files are received and backed up. Of course, during the process, storage again comes into play, as the artist’s work is saved and composited into the live-action file and then saved (and stored) yet again. Continue reading

Storage for Color and Post

By Karen Moltenbrey

At nearly every phase of the content creation process, storage is at the center. Here we look at two post facilities whose projects continually push boundaries in terms of data, but through it all, their storage solution remains fast and reliable. One, Light Iron, juggles an average of 20 to 40 data-intensive projects at a time and must have a robust storage solution to handle its ever-growing work. Continue reading

Storage Trends for M&E

By Tom Coughlin

Media and entertainment content is growing in size due to higher resolution, higher frame rates and more bits per pixel. In addition, the amount of digital content is growing as increasing numbers of creators provide unique content for online streaming channels and as the number of cameras used in a given project increases for applications such as sports 360-degree immersive video projects. Continue reading

Storage for UHD and 4K

By Peter Collins

Over the past few years, we have seen a huge audience uptake of UHD and 4K technologies. The increase in resolution offering more detailed imagery, and the adoption of HDR bringing bigger and brighter colors.

UHD technologies are a significant selling point, and are quickly becoming the “new normal ” Continue reading

Storage for Editors

By Karen Moltenbrey

Whether you are a small-, medium- or large-size facility, storage is at the heart of your workflow. Consider, for instance, the one-person shop Fin Film Company, which films and edits footage for branding and events, often on water. Then there’s Uppercut, a boutique creative/post studio where collaborative workflow is the key to pushing boundaries on commercials and other similar projects. Continue reading

Storage Roundtable

By Randi Altman

Every year in our special Storage Edition, we poll those who use storage and those who make storage. This year is no different. The users we’ve assembled for our latest offering weigh in on how they purchase gear, how they employ storage and cloud-based solutions. Storage makers talk about what’s to come from them, Continue reading

Behind the Title: Matter Films president Matt Moore

Part of his job is finding talent and production partners. “We want the most innovative and freshest directors, cinematographers and editors from all over the world.”

NAME: Matt Moore

COMPANY: Phoenix and Los Angeles’ Matter Films
and OH Partners

CAN YOU DESCRIBE YOUR COMPANY? Continue reading

Localization: Removing language barriers on global content

By Jennifer Walden

Foreign films aren’t just for cinephiles anymore. Streaming platforms are serving up international content to the masses. There are incredible series — like Netflix’s Spanish series Money Heist, Danish series The Rain and the German series Dark — that would have been otherwise unknown to American audiences. Continue reading

Quick Chat: The Rebel Fleet’s Michael Urban talks on-set workflows

When shooting major motion pictures and episodic television with multiple crews in multiple locations, production teams need a workflow that gives them fast access and complete control of the footage across the entire production, from the first day of the shoot to the last day of post. This is Wellington, New Zealand-based The Rebel Fleet’s reason for being. Continue reading

Video: The Irishman’s focused and intimate sound mixing

Martin Scorsese’s The Irishman, starring Robert De Niro, Al Pacino and Joe Pesci, tells the story of organized crime in post-war America as seen through the eyes of World War II veteran Frank Sheeran (DeNiro), a hustler and hitman who worked alongside some of the most notorious figures of the 20th century. In the film, Continue reading

The Irishman editor Thelma Schoonmaker

By Iain Blair

Editor Thelma Schoonmaker is a three-time Academy Award winner who has worked alongside filmmaker Martin Scorsese for almost 50 years. Simply put, Schoonmaker has been Scorsese’s go-to editor and key collaborator over the course of some 25 films, winning Oscars for Raging Bull, The Aviator and The Departed. Continue reading

Behind the Title: MPC’s CD Morten Vinther

This creative director/director still jumps on the Flame and also edits from time to time. “I love mixing it up and doing different things,” he says.

NAME: Morten Vinther

COMPANY: Moving Picture Company, Los Angeles

CAN YOU DESCRIBE YOUR COMPANY? Continue reading

Director Robert Eggers talks about his psychological thriller The Lighthouse

By Iain Blair

Writer/director Robert Eggers burst onto the scene when his feature film debut, The Witch, won the Directing Award in the US Dramatic category at the 2015 Sundance Film Festival. He followed up that success by co-writing and directing another supernatural, hallucinatory horror film, The Lighthouse, Continue reading

Behind the Title: Logan & Sons director Tom Schlagkamp

This director also loves editing, sound design and working with VFX long before and after the shoot.

Name: Tom Schlagkamp

Company: Logan & Sons, the live-action division of bicoastal content creation studio Logan, which is based in NYC and LA. Continue reading

2019 HPA Award winners announced

The industry came together on November 21 in Los Angeles to celebrate its own at the 14th annual HPA Awards. Awards were given to individuals and teams working in 12 creative craft categories, recognizing outstanding contributions to color grading, sound, editing and visual effects for commercials, television and feature film.

As was previously announced, Continue reading

Creating With Cloud: A VFX producer’s perspective

By Chris Del Conte

The ‘90s was an explosive era for visual effects, with films like Jurassic Park, Independence Day, Titanic and The Matrix shattering box office records and inspiring a generation of artists and filmmakers, myself included. I got my start in VFX working on seaQuest DSV, Continue reading

Blur Studio uses new AMD Threadripper for Terminator: Dark Fate VFX

By Dayna McCallum

AMD has announced new additions to its high-end desktop processor family. Built for demanding desktop and content creation workloads, the 24-core AMD Ryzen Threadripper 3960X and the 32-core AMD Ryzen Threadripper 3970X processors will be available worldwide November 25.

AMD states that the powerful new processors provide up to 90 percent more performance and up to 2.5 times more available storage bandwidth than competitive offerings, Continue reading