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Final Cut Pro X resurrected: Focus’ advanced workflow

By Daniel Restuccio

To many, Apple’s Final Cut Pro editing application died in June 2011 when they announced Final Cut X. Derided as an odd version of iMovie, it lacked many of the features of Final Cut 7 and fell out of favor with many editors looking for an alternative to Avid Media Composer. 

Nearly four years later Final Cut Pro 10.1.4 is fully resurrected and, for the makers of the Will Smith caper Focus, a godsend that provided a flexible, efficient and cost-effective workflow to post their feature movie shot on the Arri Alexa.

Less than two years since releasing the new MacPro “cylinder,” Apple claims that they have upgraded Final Cut Pro X to the level where it can be taken seriously again as a post production solution for features and episodic television. According to Michael Cioni, CEO of Light Iron, Final Cut Pro X is the first NLE designed around a data-centric ecosystem. Previous NLEs were timeline-based systems that sat on top of a database, something that is ideal in a videotape world.

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Quick Chat: Blue Collar Post Collective’s Janis Vogel
By Randi Altman

Heidelberg, Germany-born and Martha’s Vineyard-raised Janis Vogel (@didyoumeanjanis) now resides in Greenpoint, Brooklyn, making her living editing documentaries, television documentary series, experimental film, fiction, music videos and promos.

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Midnight Rider decision is important to post, too
By The Unknown Artist

A year ago, camera assistant Sarah Jones was killed and eight other crew members were injured while shooting the film Midnight Rider without a permit or appropriate safety measures… on live train tracks. According to subsequent investigations and reports, the production knowingly bypassed safety standards and legal OSHA requirements in order to save money.  

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Quick Chat: Assimilate’s Lucas Wilson talks about 
Scratch Web

Recently, Assimilate launched Scratch Web, a cloud-based multi-user collaboration tool that offers individual clip, timeline or timeline plus version sharing (known as Scratch Construct) as well as native support for industry-standard RAW camera formats. 

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Behind the Title: 
Wax’s Stephen Jess 

Company 3 Detroit adds colorist Robert Curreri

Behind the Title: 
Composer Peter Brown

• NetApp
• Devil & Demon

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