A great overview of post-production workflow of scripted TV series, not just for an assistant editor.
“you might be surprised to read that Japanese broadcasters set the color temperature at 9300K, much bluer than the 6500K that dominates as a standard elsewhere in the world. In fact, many of the licensed anime shows on Netflix were converted to D65 BT.1886 at the very end of post production to meet our spec and look accurate on our streaming service — as the creatives intended!”
An informative introduction to Japanese anime production and post-production from Netflix.
“Starting Monday, March 16 through Friday, April 17 for those users who are unable to access their systems at their facilities and thus must work from home, we will provide 90-day licenses for Media Composer | Ultimate, Pro Tools, Pro Tools | Ultimate, or Sibelius | Ultimate.”
Stay healthy, my post production people!
I’ve been enjoying the editor Paul Hirsch’s book, A Long Time Ago in a Cutting Room Far, Far Away, for last couple of weeks. It’s one of the best books about working in Hollywood, with delightful nuggets of editing / storytelling wisdom as an film editor. (I’m planning to write a book review after I’m done with it.)
To supplement his book, I’m thrilled to find his book tours/talks all over the Internet, and his talk @ LACPUG stands out because he’s talking to his main audience, the editors and the peers.
I cannot embed the videos here, but you can watch the part 1 and the part 2 at Vimeo.
Great talk by Mindhunter colorist, Eric Weidt about the color process and his collaboration with the director David Fincher.