By Adrian Winter
NAB is a great place to try something new, as it draws in vendors and experts from every aspect of production and post production. My approach in attending the conference this year has been take in a wide variety of sessions — extending beyond the standard VFX and animation techniques that speak to my own day-to-day experience — in order to gain a better understanding of the challenges faced by other sides of this business: directors, DPs, editors, colorists and other key artists in the creative process. Continue reading
Bumin Murray editor Brady Betzel calls this newest version “a beast of a release.”
As we breached the 21 Century, I began my career in post production. I attended California Lutheran University in the little California suburb of Thousand Oaks. I was eager to learn every piece of software, all the tools, and every piece of theory I could get my hands on.
At first I was a Computer Science major, where I quickly learned I did not want to create arrays the rest of my life. However, I did see the power of graphics in a computer science from a graphics course where I learned how hard it was to program a teapot with color and shading using Java. My interests suddenly perked and I realized I wanted to create using the coding, not be the one coding, and become a video editor.
As I was learning all about the difference between scanlines, hard drive platters, After Effects and Photoshop – I found a software program called Maxon Cinema 4D. So I began learning Cinema 4D in school where at the time (2001 – 2004) BodyPaint 3D had made its inaugural debut just one year earlier, Thinking Particles were released, and soon the MoGraph module would be introduced. This was all within the timeframe of Releases 7 through 9.