Latest News

P|PW Online Returns for NAB Show New York as a Live, Interactive Virtual Conference on October 25-29, 2020

Post|Production World (P|PW) Online is the world’s leading training conference for production & post-production professionals, content creators, designers, TV, film & video editors, producers, directors, motion graphics & online video specialists. While we can not convene at the Javits Center in New York, NAB Show New York will take place as a virtual event along with P|PW Online.

Your space, your pace! P|PW Online will deliver over 100 training sessions on production, post-production, new media, business strategies for creatives during COVID-19 times and vendor-branded topics straight to your home via the Zoom platform. P|PW Online also offers training sessions hosted by Maxon, Apple, Dell, and Blackmagic Design experts respectively to accommodate specific interests.

The speaker line-up features FMC’s world-renowned team of post-production experts and certified instructors. To facilitate community building, the P|PW Online program also offers interactive networking sessions, panel discussions, happy hours, and intimate virtual help desk sessions with P|PW Online instructors.

The ticket is only $399 and registration includes access to stream the session recordings for 90 days post-event!

For any questions, reach out to event manager, Jennifer Howard at JenniferH@fmctraining.com.

Sight, Sound & Story: Live Online with “SoundShow: Sound Design in Film & TV” on October 14th

Sight, Sound & Story: Live monthly online event series continues in October with Supervising Sound Editors Bobbi Banks, & Mildred Iatrou, and Re-Recording Mixer Robert Fernandez
 
 
Manhattan Edit Workshop’s “Sight, Sound & Story: Live” monthly online event series continues in October with an in-depth look into the world of Sound Design.

Inside Episode IV:  Sound is one of the most important elements in film and can be used to elevate a performance, evoke emotions, indicate mood and emphasize what’s on the screen. Join Moderator Woody Woodhall, CAS, who will take a deep dive into the creative process of sound design in film and television. He will be joined by multiple Emmy-nominated Supervising Sound Editor Bobbi Banks, AMPAS, ATAS, MPSE, multiple Oscar-nominated Supervising Sound Editor Mildred Iatrou, and Grammy and Emmy-winner, Re-Recording Mixer Robert Fernandez. This panel will take us through the creative process of sound design and sound mixing and explore how sound shapes and influences our viewing experience. Through discussion and viewing scenes, we will see and hear examples of the panelists extraordinary work in sound.

All attendees who register for this event will receive a link and password to Vimeo Live an hour prior to the event.  The event will be live at 5:00 PM EST/ 2:00 PM PST on October 14th.  This will gain free access for all attendees who register.

Our event wouldn’t be possible without our Master Storyteller Sponsors: OWC, ZEISS, American Cinema Editors, & EditFest Global; as well as our Technology Sponsor: Shutterstock.  Following the panel there will be a chance to ask questions in a live Q&A networking event.  To register, please go to https://bit.ly/3ikajex.
 
The next Sight, Sound & Story: Live event will be on November 12th with Film Historian Bobbie O’Steen.  Please go to www.SightSoundandStory.com for up to date information. 

BB&S Lights Quarantine short: We Can’t Go On

Amanda Dreschler and Michael Livingston didn’t let a detour like the COVID-19 pandemic shunt their creativity. Just the opposite— they channeled their isolation experience into inspiration and pulled out the stops—writing a script, learning the majority of crew positions, and sharpened their directing, acting and editing skills. Plus they got by with a little help from their friends— all remote, all COVID safe.

Together they wrote the script mirroring the very personal emotional and physical experiences they were undergoing, measured with a healthy dose of creative expression that adds an undertow of mystery that really keeps the 19-minute story moving.

They made the most of their own “natural resources” using their Hollywood rooftop apartment as the location. A call to Michael Valinsky nabbed their long-time friend as Executive Producer and he in turn reached out to legendary Steadicam operator, turned DP, Dan Kneece, and they had their cinematographer. Michael Bravin at Canon added a new Canon C300 MKII and Sumire primes that they called a “godsend”.

The previous year, Kneece had used the new BB&S Area 48 Color on a soon to be released indie film, so he was happy when BB&S again made the lights available. “The BB&S Area 48 Color was definitely our main light,” says Livingston, “We used it in almost every scene. Even in those that were primarily natural daylight, we almost always had the Area 48 bouncing for some extra fill. We shot against bright windows in full daylight for the workout scene at the beginning of the film. The Area 48 gave enough power to bring up the exposure in the apartment close to the exterior so we didn’t blow out our windows.” 

“The colors on the Area 48 were stunning and essential in getting the neon look of the film. We would never have been able to achieve the bright colored sequences with gels. In our lava lamp scene we were able to tune the colors to an almost exact match with our lava lamp and dim it down to look as if the lamp cast a glow on our faces. Without the Area 48 we wouldn’t have been able to fine-tune that scene the way we did.” Kneece concurred, “The power, versatility and flexibility of this light is incredible. It has the adjustability to match almost any other colored source.”  

Matching was important to Livingston who was co-directing, working camera and editing. “The Rotolights can roll through daylight to tungsten, but they don’t have the color range of the Area 48. The BB&S lights had such precise controls we were always able to match the Rotolights. The green shift control for the daylight was also very helpful. Our apartment windows have a slight green tint to them, and we were able to match that light with the Area 48.

Although Dan was in Marina Del Rey while Amanda and Michael were across town, the team safely moved forward remotely without missing a beat. “The waveform was a saving grace as we bounced the signal over two laptops so we could collaborate”, says Kneece. “By pointing Michael’s laptop at the production monitor, working on this film didn’t seem much different that other films when you’re working from video village on a normal set. The process actually worked really well.”

Small team or not, the goal was to get a high-end look. Peering into the psychological states of the characters called for numerous close-ups especially on the co-director/lead character, played by Amanda Dreschler. Capturing her gossamer complexion has been a challenge on many of their films. “We’re always experimenting with different make up, different lighting,” explains Michael. “This time around we found it very easy to get good beauty shots with the Area 48. The quality of light that comes from it is so soft, especially with the soft box, it gave a very luminescent quality to our close ups. With Dan’s help we lit the scene the way it needed to look, and the light just bounced beautifully off her skin—it did all the work for us.

The lava lamp scene was critical. Kneece explains, “Lava lamps by nature are not the most precise light sources so thank goodness the Area 48 Color is. We were able to match the lava lamp perfectly and use the Rotolight to make up the difference with a bit of gel. The trickiest part was positioning the camera, lights and actors so they were attractively lit and photographed without shadowing them from the fixture or getting unwanted light on the lava lamp or their faces. It was a very precise shot to make work.”

“The color grade also helped bring everything out to its full potential”, adds Livingston, “but the ultra soft Canon Sumire lenses and the Area 48 is an A+ combination. If you’re looking for good beauty work it certainly gets Amanda’s seal of approval.

They also selectively used harder LED lights. Livingston says, “The Force-7 is a beast of a light but highly controllable so it was great for our shooting limitations. To create the spotlight in our singing set up we had it behind the camera pretty far back from the set (as far as we could manage in our apartment!) and were able to get a perfect circle on our backdrop. It also acted as a backlight in the sequence where Amanda is dressed up as the raven. We could spot it down to a pinpoint and get a perfect kick on the back of her hair and feathers. It was subtle, but it’s the details that make all the difference.”

 “The Compact Beamlight was fantastic, especially under shooting conditions where we didn’t have any crew or a lot of space. It was perfect for hair lights and came in handy anywhere else we needed a kick. One set up in particular was for the finale which Livingston calls the “floating iPhone key shot,” explaining, “We used the CBL-1 as a rim to simulate the sunset glinting off of the phone on our white screen. Using the dimming control we were able to be very precise about the amount specular highlight we were getting.”

Dan Kneece has been on the set of literally hundreds of films, big and small. His response to the first one filmed in quarantine? “As beautiful as this movie is, it was all done in a practical apartment using house power and we didn’t blow a breaker once. Amazing really.”

We Can’t Go On, written, directed, and starring Amanda Dreschler and Michael A. Livingston was shot and completed during the 2020 Covid-19 quarantine. View it at: https://vimeo.com/447406368

CineGear Goes Virtual for 2020 Film Series Competition

Participate Free via phone, tablet, computer or connected TV

Cine Gear Expo announces a rousing virtual lineup for their much-anticipated annual Film Series Competition to be held at 12 noon, Saturday, October 3, 2020.

Like the Expo’s successful in-person events, online guests will be treated to a full schedule of curated finalist films including Independent Shorts, Music Video/Commercials and Student Shorts with submissions from AFI, USC, & London Film Schools. Following the screenings, CineGear guest host, Jay Holben, will moderate a spirited online networking event, complete with trivia questions, prize give-aways, lively chat and more. Viewers will have the opportunity to vote for their favorite film in each category that will be tallied with the selections of CineGear’s independent team of industry judges. Next comes the Award Presentation when winners will receive filmmaking prizes generously donated by top industry tech and services companies.

Independent Short Film finalists:
• Swimming, Director: Anna Chi
• Sound, Director/Writer: Tawan Bazemore
• Second Team, Director: Ria Pavia
• Stevie, Director/Writer: Eric L. Thompson
• Godspeed MC/For God and Country, Director: R.J. Hall
• Stormchaser, Director: Gretl Claggett
• Waves, Director: Jane Hae Kim
• The Entity, Director/Writer: Chi K. In

• Music Video / Commercial Finalists:
• Nice Shoes, Director/Writer: Jonathan Lawrence
• Hey, Beautiful!, Director: Kenneth Ferrone
• Chasing the Horizon, Director: Sasha A. Logov
• Alive, Director/Writer: Carissa Dorson
• Oo La La, Director/Writer/Producer: Frank Rogala
• James Arthur feat. Travis Barker – You, Director/Producer: Timon Birkhofer
• Stellar Moto Brand Commercial, Director/Writer: Iggi Ogard
• About the Girl in the Trunk, Director/Writer: Lindsay Clift
• Slant – With or Without You, Director: Vez Visuals

• Student Short Film Finalists:
• Día de Las Carpas- AFI Conservatory, Director: Joao Dall’Stella
• They Won’t Last- AFI Conservatory, Director: Portlynn Tagavi
• Natives- The Peter Stark Producing Program, Director: Ramon Farrier
• Tree #3- AFI Conservatory, Director: Omer Ben-Shachar
• Our Home Here- AFI Conservatory, Director: Angela Chen
• GROK SEE BLUE- AFI Conservatory, Director/Producer: Quinn Else
• A Guide to Being Herman- USC Film School, Director: Sergio Zaciu
• Furthest From- AFI Conservatory, Director: Kyung Sok Kim
• Time Difference- London College of Communications, Director: Xuqin Sun
• Pumpkin- CAL State LA, Television, Film & Media Studies, Director: Chris Collins

 

Join CineGear Film Series Competition October 3, 2020 Screenings: Noon – 5:17 pm PDT
After-Party: 5:20 pm – 6:20 pm

Free Registration and schedule:

https://www.cinegearexpo.com/film-series-competition- virtual-event/

Registrants will receive detailed instructions and online links to enjoy full participation in the CineGear 2020 Film Series Competition.

Sight, Sound & Story: Live “Making it Work: From Editor to Producer”

When: SEPTEMBER 16, 2020
Time: 5PM EST / 2PM PST
General Admission:  FREE!!

Moderator: Sean Weiner (Jacob Burns Film Center, Director of Programs, Media Arts Lab)
Speakers: Daysha Broadway (Insecure, A Black Lady Sketch Show, Surviving R. Kelly) & Deniese Davis (Insecure, A Black Lady Sketch Show, The Misadventures of Awkward Black Girl)

Inside Episode III: The relationships between Editors and Producers are some of the most important in the post-production process in television. In this panel we’ll hear from multiple Emmy-nominated Editor Daysha Broadway and multiple Emmy nominated Producer Deniese Davis. Sean Weiner will moderate the panel and explore how emerging filmmakers can learn from Daysha’s and Deniese’s careers. Sean will discuss with Daysha how her past Documentary and Reality TV editing informs her approach to editing scripted television. He will also talk with Deniese on her work on the web series The Misadventures of Awkward Black Girl how that led to her success in Peak TV. They will both discuss their relationship as Editor and Producer on the Emmy-winning Insecure and the Emmy-nominated A Black Lady Sketch Show. Through reflection on their experiencesconnecting with one another in the film industry and analysis of clips from each of their shows, Daysha and Deniese will both reveal how an Editor and Producer combine their particular talents to make it work!

All attendees who register for this event will receive a link and password an hour prior to the event. The event will be hosted on a password protected Vimeo Live webpage This will gain free access for attendees. There will be live raffles throughout the event, but attendees must be present. Following the panel there will be a chance to ask questions in a live Q & A networking event.

REGISTER HERE

 

iZotope Releases RX 8 and Announces Updates to Flagship Suites

New Versions of RX  and RX Post Production Suite Launch, while Music Production Suite 4 is Coming Soon
 
iZotope Inc., the experts in intelligent audio technology, has released RX 8, the latest update to its flagship audio repair and enhancement software, as well as launched RX Post Production Suite 5. Additionally, iZotope announced that Music Production Suite 4 will be coming this fall.
 
RX, which has made audio repair easier for musicians and post professionals for over a decade, continues to be the industry-standard audio repair tool used on countless albums, movies, and TV shows to restore damaged, noisy audio to pristine condition. Its newest version is a complete toolkit for audio cleanup and restoration needs at any level, from content creators to music producers to post production professionals.
 
The two-time Engineering Emmy® Award-winning RX Advanced now allows audio professionals greater audio fidelity, whether repairing streamed dialogue with new features like Spectral Recovery or correcting pitch modulation with Wow & Flutter. The Batch Processor and Loudness Control have also been revamped, saving users precious time when they are repairing or delivering audio files. 
 
New RX 8 Standard features allow musicians to instantly adjust guitar recordings with Guitar De-noise, to rebalance their mix and create or isolate stems with the improved Music Rebalance, and to prep music for streaming with the updated Loudness Control. Both the standalone audio editor and the included plug-ins allow users to surgically fix audio problems and music performances with RX 8. 
 
The new RX Elements is a budget-friendly noise reduction and audio repair tool for small home studios that need the basics. It includes a standalone audio editor with spectral editing as well as four essential, real-time noise reduction plug-ins to fix clipping, hums, clicks and other unwanted background noise, like amp hiss or air conditioner noise. Its Repair Assistant continues to use the digital signal processing in RX Elements to analyze your audio and provide solutions to common audio issues.
 
New & Improved Features:
• NEW – Spectral Recovery (Advanced Only) – Restores frequencies above 4 kHz, turning bandwidth-limited audio into clear, articulate recordings.
• NEW – Wow & Flutter (Advanced Only)  – Corrects pitch variations and fluctuations associated with tape, vinyl and optical transfers. Use Wow to fix longer, sustained pitch drift, and Flutter to correct pitch variances that occur at faster rates.
• NEW – Loudness Control (Advanced and Standard) – Instantly load preset loudness targets and conform production audio to broadcast requirements in seconds, and monitor levels using the built-in numeric and history plot readouts for integrated, short-term, and momentary loudness.
• NEW – Guitar De-noise (Advanced and Standard) – Allows refining to guitar recordings for maximum clarity in seconds. Manage sounds that can unintentionally be emphasized by the effect of compression or limiting, like electrical amp noise and interference, distracting fret or string squeaks, and harsh pick attacks.
• NEW – 32 Audio Tab Limit (All Versions)  – RX 8 doubles the previous 16-tab limit, now allowing users to view and edit up to 32 files within RX Audio Editor.
• NEW – Horizontal Scrolling (All Versions) – Horizontal scrolling is now built into the intuitive Spectrogram Display. Use the scroll gesture on a trackpad or mouse to scroll through your audio across the X-axis for lightning fast edits.
• IMPROVED – Music Rebalance (Advanced and Standard) – Users can easily re-animate a mix, make room for scene dialogue in post, remove or isolate vocals for a remix, or even create and export new stems for further processing and mixing.
• IMPROVED – Batch Processor (Advanced and Standard) – Process many files at a time, view pertinent metadata in your audio, then apply a full series of processors with Module Chain.
• IMPROVED – De-Hum (All Versions) – Now features independent frequency reduction bands, and a redesigned, intuitive interface.
 
“Since we first released our flagship RX product, additional years of research and innovation in machine learning have allowed us to continue to provide the industry with timely solutions to audio repair issues that were previously impossible,” said iZotope Principal Product Manager Mike Rozett. “Our latest edition of RX continues this tradition with new features such as Spectral Recovery, Guitar De-noise and Wow & Flutter, all designed to help people solve the unsolvable in audio.”
 
iZotope has also released RX Post Production Suite 5, which features its most powerful tools for post production, including RX 8 Advanced, Dialogue Match, Neutron 3 Advanced, Nectar 3 (with Melodyne 5 essential), Insight 2, RX Loudness Control, Relay, Symphony 3D and Stratus 3D by Exponential Audio, and Tonal Balance Control 2, plus a one year all-access pass to Groove 3, a video training tool. 
 
In addition, Music Production Suite 4 will release this fall, which will include RX 8 Standard, Ozone 9 Advanced, Neutron 3 Advanced, Nectar 3 (with Melodyne 5 essential), Insight 2, NIMBUS by Exponential Audio, and Tonal Balance Control 2. Those that have purchased Music Production Suite 3 after September 2, 2020 will receive a free upgrade to Music Production Suite 4.
 
RX Pricing & Availability

RX 8  is now available at www.izotope.com and select retailers

• RX 8 Elements: $99 introductory ($129 regular)
• RX 8 Standard: $299 introductory ($399 regular)
• RX 8 Advanced:  $999 introductory ($1199 regular)
• RX Post Production Suite 5: $1499 introductory ($1999 regular)

Introducing Sony Cinema Line

Expanding the camera line-up for content creators with the technology cultivated for digital cinema production

Sony Electronics Inc. today announced the launch of Cinema Line, a series of camera products for a wide range of content creators, which will bring together Sony’s expertise in image quality, attention to detail, technology and passion in digital cinema.

 

 

Cinema Line will deliver not only the coveted cinematographic look cultivated through extensive experience in digital cinema production, but also the enhanced operability and reliability that meet discerning creators’ various needs. The new series will extend beyond traditional cinema camera and professional camcorder form factors.

In 2000, Sony released the ground-breaking HDW-F900. The HDW-F900 marked the beginning of digital cinema history as the world’s first 24p digital cinema camera. Many Sony cameras followed in response to countless dialogues with cinematographers and image creators – including VENICE, which was released in 2018.

Sony FX6

Existing cameras that will form part of the Sony Cinema Line include VENICE and FX9. VENICE has become a first choice for digital movie production, and FX9 has an outstanding track record in documentary production. The next camera will appeal to a wider spectrum of visual creators. Sony will be releasing and shipping this next addition to the Cinema Line, FX6, by the end of 2020.

Each of the Cinema Line cameras will evolve with user feedback: The FX9 Version 3.0 firmware upgrade, available in 2021, will see the addition of the S700PTP* to enable remote control, and a Center Scan mode for Super 16mm lens and B4 lens support with its adaptor, as well as other features. In parallel, in November 2020, VENICE will see additional features in Version 6.0 firmware, which will improve its operability in broadcast and live environments.

“The voice of our customer is critical to everything we do,” said Neal Manowitz, Deputy President of Imaging Products and Solutions Americas at Sony Electronics Inc. “We have the deepest respect for filmmakers, cinematographers and storytellers, and will continue to evolve our product line to meet and exceed their demands. Just as our VENICE camera was designed to capture the emotion in every frame, our new Cinema Line expands that vision to allow a broader range of creators to push their boundaries further, and capture and create like they’ve never been able to before.”

* S700PTP is a protocol that realizes S700P over TCP/IP

NEW INSTALLMENT IN CHALK WARFARE GLOBAL YOUTUBE PHENOMENA CREATED WITH BLACKMAGIC DESIGN WORKFLOW

Blackmagic Design announced today that Chalk Warfare 4.0, the newest installment of popular YouTube series Chalk Warfare, was produced using a full Blackmagic Design workflow, from production through post. This includes using URSA Mini Pro 4.6K G2, Pocket Cinema Camera 4K shooting in Blackmagic RAW for production and DaVinci Resolve Studio for all of the film’s post production.

The concept of Chalk Warfare is simple: Teams draw chalk weapons inspired by popular games and media, which become real when pulled off the wall, and the war begins. The first installment was limited to four guys in a park, but by episode 3, twelve players fight over a post apocalyptic warehouse set, drawing items such as space portals, chalk drones, energy weapons and even an Iron Man-esque full body suit.

10 years after the first episode, the Chalk Warfare series has garnered more than 125 million views. Throughout the process, the team found ways to increase the quality, by embracing new technologies as they became available. “One of the things that made Chalk 3.0 look so much better is we switched from DSLRs to the Blackmagic Cinema Camera 2.5K,” said Wickert. “It gave it a much more cinematic, polished look.”

As plans began for Chalk Warfare 4.0, the team felt, as they had for each installment, the need to advance not only the story but also the technology used to tell it. A key element was to continue to embrace Blackmagic Design. “It was always a fantastic experience working with Blackmagic products,” said Wickert. “We get so much quality and performance, and all for a competitive price. We felt we could improve the look of our films, capturing far more dynamic range and providing more options in post.”

Chalk Warfare 4.0 producer Micah Malinics was excited to work with the newest cameras as well. “Blackmagic’s technology has been something I’ve been fascinated with since discovering them in college. I wasn’t able to get hands on experience until the original URSA Mini Pro 4.6K came out, but I was blown away with the picture quality it packed in its size and price. As a producer, I knew this was going to be a game changer for cinematic YouTubers.”

Production incorporated both the URSA Mini Pro 4.6K G2, as well as the Pocket Cinema Camera 4K. For a small production, the flexible form factors allowed them to be more efficient. “We would utilize a two camera setup to shoot double coverage on the flagship action scenes,” said Malinics, “and at times even splitting into two units to maximize the day, since some of our locations we only had a day or two to capture everything. The URSA Mini Pro also allowed us to use some of the cinema grade glass and peripherals that we already had access to, which continued to help us push our cinematic capacity on this project. We also used the Pocket Cinema Camera 4K for a lot of our behind the scenes footage. It’s easy and versatile, and cuts well against URSA Mini Pro footage.”

Chalk Warfare 4.0 truly took production to a new level, with shoots taking place in Los Angeles and South Carolina, and included an aerial unit for a sky diving sequence. “One of the best things about Blackmagic is their different form factors. We could shoot a standard production unit on a set with URSA Mini Pros, then strap the smaller Pocket Cinema Cameras to sky divers, without any fear of the footage mismatching. The Blackmagic quality is consistent throughout their cinema products. We couldn’t find that in any other brand.”

A powerful aspect of shooting with Blackmagic Design products was the use of Blackmagic RAW. “Using Blackmagic RAW really improved the look of the film,” said Wickert. “Especially outside, our production was largely naturally lit. Blackmagic RAW gave us the range needed to have options when it came to the environments we were shooting in. And being behind the rig on set, I enjoyed this because I am very run and gun – it allows us to record the data needed to pull detail where we need it when it comes time to color. It was nice knowing the highlights were being captured, and I could focus on moving quickly to shoot our film.”

With visual effects a major star in the project, it was important to capture as high a quality image as possible. “Blackmagic RAW was the perfect solution to allow us to capture all of the necessary color and pixel information for the VFX work, while making it economically and logistically possible, without needing terabytes of storage on set,” said Malinics. “Being able to utilize all of the information on the 4.6K sensor and have real time playback with those files in DaVinci Resolve Studio, without the need of proxies, also helped quite a bit on the backend. As YouTubers, we tend to work pretty quick and dirty at times, so Blackmagic RAW helped us keep a small and fast workflow while having an exceptionally greater range of information to use than our previous DSLRs.”

Post production was completed largely in DaVinci Resolve Studio, which Wickert found fast and efficient. “A big issue we’ve face with software programs and editors in the past is that the software didn’t utilize the full performance of our computers. Just because you may have great hardware, it doesn’t mean your post production software is utilizing it. This film has a combination of extensive live action as well as many full CG sequences with no practical footage (aside from assets) so having a quick editor that is multithreaded and efficient that could handle all this material was a must. Resolve was up to the task, and truly made our workflow more efficient.”

In true collaborative style, Chalk Warfare incorporated not only crazy sets and sequences, but combined a massive amount of computer animation work from both Wickert and in house visual effects artist Brendan Forde, as well as a variety of artists from across the country. Work included extensive 3D tracking, particle FX and fluid dynamics. Forde focused primarily on the massive task of tracking weapons while Wickert handled the heavier 3D sequences and chalk integration.

All materials were composited in DaVinci Resolve Fusion. “Fusion’s node based workflow was incredibly helpful,” said Forde. “On a project like this, with so many shots with similar compositing methods needed, we were able to utilize the node workflow to easily swap in and out assets, as well as tracking data to replace weapons and add them to new shots.”

With the combined tools inside the package, it was simple to drop in new shots, play out the sequence, and make sure they worked within the context of the full edit. “We loved that we could work on Fusion, then click over to the Edit panel and watch it with color and even full sound if we wanted to. We were building a final edit from day one, rather than looking at low res proxies, hoping that everything integrated in the end.”

Wickert and Leigh have focused on Virtual Reality work in between Chalk Warfare installments, so it seemed appropriate to build in some VR work inside Chalk Warfare 4.0. Using a custom built Virtual Camera rig, including the Blackmagic Video Assist 4K, Wickert was able to use footage shot on location with the URSA Mini Pro 4.6K G2 in the VR space. “An example of this is with a robot breaking through the wall. We were able to take photo scanned assets as well as our robot animation and literally film the robot in our office, dynamically reacting to the animation that we are seeing through our Blackmagic monitor on our rig. This allowed for realistic camera moves on our CG, which can often make some questionable CG look convincing.”

With the release of Chalk Warfare 4.0, Wickert, Leigh and Malinics are eager to move on to new projects, though their work on the series continues to inspire their future goals. “We’d like to continue working on projects that excite us and can entertain our audience,” said Wickert. “All these new tools, from VR and 3D to Blackmagic cameras and DaVinci Resolve, can help us create more immersive sequences and even more captivating experiences.”

Chalk Warfare 4.0 premiered on YouTube July 16, 2020 – https://youtu.be/Cd1EmYRZynw

LAPPG MEMBERS GET FREE TICKETS TO NFMLA PANELS

Our good friends at NewFilmmakers Los Angeles have offered all LAPPG members free tickets to their upcoming panels.

Please see below for details and for the link to use to get your free ticket!

NFMLA & FLICS Panel – Filming Around the State of California
Fri, Aug 21, 2020 3:00 PM – 4:30 PM PDT

A conversation with various Film Commissioners from around the State of California regarding current best practices for filming On Location.

About this Event
Join NewFilmmakers Los Angeles (NFMLA) and Film Liaisons in California Statewide (FLICS), a statewide professional association of Film Commissions and Offices in California that are dedicated to promoting filming throughout California and assisting productions with locations, permits, resources, and local knowledge discussion on best practices, as we discuss the current state of filming On Location in various jurisdictions throughout CA.

• Moderator: Eve Honathaner – Deputy Director, California Film Commission

• Panelist: Tasha Day – Manager of Special Events and Filming, City of Long Beach

• Panelist: Susannah Robbins – Executive Director, San Francisco Film Commission

• Panelist: Sabrina Jurisich – Film Commissioner, Film Shasta

• Panelist: Brandy Shimabukuro, Film Commissioner, San Diego

• Panelist: Paul Audley – President, FilmLA

Use this link to register for your FREE ticket: https://www.eventbrite.com/e/nfmla-flics-panel-filming-around-the-state-of-california-tickets-116360733085?discount=FLICS

NFMLA & FLICS Panel – Back to Production: A Talk With the Producers
Fri, Aug 21, 2020 5:00 PM – 6:30 PM PDT

A discussion of film commissions and producers about getting back to filming on location in the State of California.

About this Event

Join NewFilmmakers Los Angeles (NFMLA) and Film Liaisons in California Statewide (FLICS), a statewide professional association of Film Commissions and Offices in California that are dedicated to promoting filming throughout California and assisting productions with locations, permits, resources, and local knowledge discussion on best practices, as we discuss the new production process through the eyes of Producers who are filming and/or about to start production in CA.

Panelist: Cassandra Hesseltine – Film Commissioner, Humboldt-Del Norte Film Commission

Panelist: Allison Rose Carter – Producer, A24 Feature Film

Use this link to register for your FREE ticket: https://www.eventbrite.com/e/nfmla-flics-panel-back-to-production-a-talk-with-the-producers-tickets-116363140285?discount=FLICS

Adobe Video World Heads To YOU this Fall!

Learn at your space, your pace this Fall during Adobe Video World!

Future Media Conferences is producing Adobe Video World, which is taking place on September 12-17, 2020. This virtual conference is a 6-day event packed with technical and creative workshops on the Premiere Pro and After Effects applications.

The virtual training event is perfect for video editors & motion design artists who would like to maximize their workflows and creativity with the latest features in Premiere Pro and After Effects. The conference also provides attendees with the unique opportunity to interact and learn directly from the Adobe team & Adobe certified instructors!

As an additional bonus, all Adobe Video World attendees will gain early access to the new Adobe Certified Professional (ACP) certification, an industry-recognized credential that effectively validates one’s expertise in Adobe Creative Cloud Video tools.

The full conference pass is $795, which includes access to all the training sessions, both the Premiere Pro & After Effects exam prep classes, networking rooms, happy hours, and recordings to stream for 90-days post-event. Alternatively, attendees can purchase a pass for $399 to attend either the Premiere Pro sessions or After Effects sessions exclusively. Plus, all students and faculty can save 35% on their conference pass using code: EDU2020.

Visit the event website for more details and register for your pass!

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