A community-driven source for post-production information
August 30, 2018, 08:59 AM
New American Society of Cinematographers Building Designed to Advance Organization’s Longstanding Commitment to Educating the Next Generation of Filmmakers#arri#cinematography#education#american society of cinematographers#cinematographers
March 22, 2016, 12:14 PM
This commercial was shot using Arri Alexa's 4:3 anamorphic mode and cut in Adobe Premiere Pro CC. Tips from editor Jimmy Falinski.#adobe#premiere pro#arri#alexa#anamorphic
January 29, 2013, 02:37 PM
For a while now I've heard from DoPs and cinematographers in India shooting movies on digital cameras - Alexa, Red, Sony Canon etc - requesting the services of a DIT "just like in Hollywood". Which basically means what they read about on the net, in forums, and in American Cinematographer.#arri#alexa#dit#dp
November 19, 2012, 07:57 AM
Sonys S-log really transforms the PMW-F3 to a different camera. It’s as close to shooting raw with the F3 but much easier to deal with in post. The kicker is skintones. Faces looks so natural once graded and even though it was a long time since I worked with 35mm film material it at times reminds me of what I saw back then. I also see very similar grain structure compared to the Alexa and they both share about the same pixel count – about 3.5Mp.#sony#camera#arri#s-log#slog
November 15, 2012, 10:12 PM
Undead hits The Walking Dead (shooting on film) and The Vampire Diaries (shooting with ARRI Alexa) are both shot near Atlanta, GA, and both rely on Crawford Media Services for dailies for two very different workflows, one revolving around the ARRI Alexa, the other around Super 16 film.#film#dailies#walking dead#vampire diaries#arri#alexa#super 16
Gordon sits down with Philip to discuss his work with Tyler Perry and his latest film A Madea Homeco...
Udit Duseja Discusses his Composition and Audio Work on America and All Light Everywhere
Gordon sits down to talk about Don't Look Up with the film's editor Hank Corwin.
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