AI technology (probably) isn’t the humanity-destroying rise of the machines that some fear—at least not in the world of post-production. It’s showing up all over the film industry, from helping to cast actors to achieving incredible visual effects transformations, like turning actor Josh Brolin into Thanos for “Avengers: Infinity War.” […]
Sound pros weigh in on the best equalization tools for the job […]
The Covid crisis has made work-from-home editing tools more important than ever. […]
I have seen and reviewed many workstations over the years, including desktops and mobile computers. However, the HP ZBook Studio x360 immediately struck me as something special. […]
Along with a compelling musical score, convincing sound effects are one of the most important audible ingredients in a motion picture or television production. In a movie with a chase scene through the downtown area of a city, all sorts of sounds are required, such as revving engines, flying helicopters and the rapid fire of automatic weapons. In an off-world, sci-fi movie, you might need the sounds of futuristic spaceships, laser beams and robots (maybe even a scary monster or two). Whatever the movie happens to be, if you’re the sound designer, you’ll need to create authentic effects so that audiences believe what they’re watching is real. […]
Motion capture, or MoCap, is the technique of capturing a human actor’s physical performance and applying the captured data to a 3D computer-generated character so that it moves in the same convincing, life-like manner. […]
Recently, Adobe unveiled important updates and enhancements to its suite of video applications in the Creative Cloud. Let’s take a look at some of the new features aimed at filmmakers and video professionals. […]
I’ve tried out a lot of Digital Audio Workstations (DAWs) for music production over the years. The first one I sunk my teeth into was Cubase but, along the way, I’ve bumped into others, each with its own cadre of devotees. […]
There are a lot of reasons why creative media professionals require a display on their desks that is capable of representing highly accurate colors. To start, animators must be confident that color choices will result in final renders that look how they expect them to look. […]
While two displays sound better than one, there were a few problems with this solution, the biggest being the physical gap between them. Yes, it was possible to take a window or a palette and stretch it across both displays, but it was practically impossible to work that way.
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