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	<title>Filmmaker Magazine &#187; Post-Production</title>
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	<link>http://filmmakermagazine.com</link>
	<description>The Official Blog of Filmmaker Magazine</description>
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		<title>Turning the Internet Green: The FX Protest</title>
		<link>http://filmmakermagazine.com/70788-turning-the-internet-green-the-fx-protest/</link>
		<comments>http://filmmakermagazine.com/70788-turning-the-internet-green-the-fx-protest/#comments</comments>
		<pubDate>Fri, 17 May 2013 14:49:09 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Post-Production]]></category>
		<category><![CDATA[FX Protest]]></category>
		<category><![CDATA[Life of Pi]]></category>
		<category><![CDATA[visual effects]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70788</guid>
		<description><![CDATA[Over the past few months it&#8217;s been hard to miss the green icons showing up on Twitter and other social media in support of the FX Protest, an event that happened at this year’s Oscar ceremony to protest ongoing problems in the VFX industry. While movies continue to make great use of visual effects, the companies that create these effects are being financially stressed and are going out of business. To find out more about what’s been going on in the VFX industry, we spoke to Michael Scott, a VFX compositor who has been working in the industry for the &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/70788-turning-the-internet-green-the-fx-protest/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<item>
		<title>The Opportunist on the Road to Cannes</title>
		<link>http://filmmakermagazine.com/70346-the-opportunist-on-the-road-to-cannes/</link>
		<comments>http://filmmakermagazine.com/70346-the-opportunist-on-the-road-to-cannes/#comments</comments>
		<pubDate>Mon, 13 May 2013 20:35:43 +0000</pubDate>
		<dc:creator>David Lassiter</dc:creator>
				<category><![CDATA[Festivals & Events]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Post-Production]]></category>
		<category><![CDATA[Cannes Film Festival 2013]]></category>
		<category><![CDATA[Critics Week]]></category>
		<category><![CDATA[short film]]></category>
		<category><![CDATA[The Opportunist]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70346</guid>
		<description><![CDATA[My name is David Lassiter, I&#8217;m the writer and director of a short film called The Opportunist, and over the next few weeks, my team and I will be documenting our adventures on the road to Critics Week at Cannes where our film will have its world premiere. We are big fans of Filmmaker so we&#8217;re super excited to share our experiences. To begin! It’s only been two weeks since the Critics’ Week line-up was announced and already it feels like we’ve lived a lifetime. First things first: the film’s not even finished! We submitted a work in progress to Critics’ &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/70346-the-opportunist-on-the-road-to-cannes/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<item>
		<title>2013 IFP Documentary Lab Projects Announced</title>
		<link>http://filmmakermagazine.com/70485-2013-ifp-documentary-lab-projects-announced/</link>
		<comments>http://filmmakermagazine.com/70485-2013-ifp-documentary-lab-projects-announced/#comments</comments>
		<pubDate>Mon, 13 May 2013 17:50:41 +0000</pubDate>
		<dc:creator>Nick Dawson</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Post-Production]]></category>
		<category><![CDATA[IFP Documentary Lab]]></category>
		<category><![CDATA[Independent Filmmaker Labs]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=70485</guid>
		<description><![CDATA[This morning the 10 projects selected for the 2013 IFP Documentary Labs were announced. All are works by first-time directors and have budgets of less than $1 million, and filmmakers are provided with an immersive mentorship experience to guide them through post-production and looking ahead to the festival circuit and beyond. The films selected include Sara Dosa&#8217;s doc on mushroom hunters, Roots and Webs, produced by Court 13&#8242;s Josh Penn, and David Thorpe&#8217;s Do I Sound Gay, which has How to Survive a Plague&#8216;s Howard Gertler on board as producer. Spike Lee is the executive producer on Darius Clark Monroe&#8217;s Evolution of a &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/70485-2013-ifp-documentary-lab-projects-announced/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>The Druid City: Interview with Kristyn Ulanday and Max Esposito</title>
		<link>http://filmmakermagazine.com/69566-the-druid-city-interview-with-kristyn-ulanday-and-max-esposito/</link>
		<comments>http://filmmakermagazine.com/69566-the-druid-city-interview-with-kristyn-ulanday-and-max-esposito/#comments</comments>
		<pubDate>Mon, 29 Apr 2013 14:00:53 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Cinematographers]]></category>
		<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Directors]]></category>
		<category><![CDATA[Editors]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Post-Production]]></category>
		<category><![CDATA[Canon 5D]]></category>
		<category><![CDATA[Canon 5D Mark 2]]></category>
		<category><![CDATA[FCP]]></category>
		<category><![CDATA[FCPX]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=69566</guid>
		<description><![CDATA[Kristyn Ulanday and Max Esposito graduated from the journalism department of Boston University in 2010. They both work commercially as freelance photographers and filmmakers, but in 2011 they also began a collaborative project called Full Frame America to tell the stories they wanted to tell. The first result of that collaboration is a 24-minute documentary, The Druid City, that focuses on the town of Tuscaloosa, Alabama and how the residents have coped after the town was hit by an EF4 tornado in April 2011. &#160; Filmmaker: How did you come to make this movie? Esposito: We both felt like we &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/69566-the-druid-city-interview-with-kristyn-ulanday-and-max-esposito/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>Teenage Riot: A Conversation with Matt Wolf, Jon Savage and Jason Schwartzman</title>
		<link>http://filmmakermagazine.com/69433-teenage-riot-a-conversation-with-matt-wolf-jon-savage-and-jason-schwartzman/</link>
		<comments>http://filmmakermagazine.com/69433-teenage-riot-a-conversation-with-matt-wolf-jon-savage-and-jason-schwartzman/#comments</comments>
		<pubDate>Thu, 25 Apr 2013 19:23:50 +0000</pubDate>
		<dc:creator>Paul Dallas</dc:creator>
				<category><![CDATA[Directors]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Post-Production]]></category>
		<category><![CDATA[Jason Schwartzman]]></category>
		<category><![CDATA[Jon Savage]]></category>
		<category><![CDATA[matt wolf]]></category>
		<category><![CDATA[Post Sound]]></category>
		<category><![CDATA[Teenage]]></category>
		<category><![CDATA[Tribeca Film Festival 2013]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=69433</guid>
		<description><![CDATA[Youth culture didn’t start in the ’60s. In the parlance of today’s teens, the appropriate response to this might be “duh.” Teenage, director Matt Wolf’s artful new non-fiction film, uncovers the “hidden history” of youth culture and locates its origins in various youth movements in the first half of the 20th century. From German Swing kids to American Victory Girls, the film offers a veritable lexicon of lost teen vocabulary (“teen canteen,” “buzz bucket,” “boogie in the strut hut”), and reminds us that the invention of teenager culture depended on the invention of a new language — and one that &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/69433-teenage-riot-a-conversation-with-matt-wolf-jon-savage-and-jason-schwartzman/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>The New Digital Storytelling Series: Ingrid Kopp</title>
		<link>http://filmmakermagazine.com/68817-the-new-digital-storytelling-series-ingrid-kopp/</link>
		<comments>http://filmmakermagazine.com/68817-the-new-digital-storytelling-series-ingrid-kopp/#comments</comments>
		<pubDate>Thu, 18 Apr 2013 15:16:26 +0000</pubDate>
		<dc:creator>MIT Open Documentary Lab</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Post-Production]]></category>
		<category><![CDATA[Transmedia]]></category>
		<category><![CDATA[Crossover Labs]]></category>
		<category><![CDATA[FCP]]></category>
		<category><![CDATA[Ingrid Kopp]]></category>
		<category><![CDATA[New Frontier Story Lab]]></category>
		<category><![CDATA[NFB Interactive]]></category>
		<category><![CDATA[Power to the Pixel]]></category>
		<category><![CDATA[Producers Institute for New Media Technologies]]></category>
		<category><![CDATA[TFI New Media Fund]]></category>
		<category><![CDATA[Tribeca Film Institute]]></category>
		<category><![CDATA[Tribeca Hacks]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=68817</guid>
		<description><![CDATA[In the seventh part of Filmmaker‘s interview project with prominent figures from the world of transmedia, conducted through the MIT Open Documentary Lab,  Ingrid Kopp, Director of Digital Initiatives at Tribeca Film Institute,  answers our questions. Kopp oversees the TFI New Media Fund, runs Tribeca Hacks and produces TFI Interactive during the Tribeca Film Festival. For an introduction to this entire series, and links to all the installments so far, check out “Should Filmmakers Learn to Code,” by MIT Open Documentary Lab’s Sarah Wolozin. MIT Open Documentary Lab: How do you see people making the transition to digital interactive storytelling? Kopp: I think people have &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/68817-the-new-digital-storytelling-series-ingrid-kopp/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<item>
		<title>Why Filmmaking is Like Software Design</title>
		<link>http://filmmakermagazine.com/67052-why-filmmaking-is-like-software-design/</link>
		<comments>http://filmmakermagazine.com/67052-why-filmmaking-is-like-software-design/#comments</comments>
		<pubDate>Mon, 15 Apr 2013 13:00:31 +0000</pubDate>
		<dc:creator>A.D. Calvo</dc:creator>
				<category><![CDATA[Distribution]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Post-Production]]></category>
		<category><![CDATA[Production]]></category>
		<category><![CDATA[Pre-Production]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=67052</guid>
		<description><![CDATA[Before becoming a filmmaker I spent 15 years designing software. Started out as a Mac OS programmer and then moved to Microsoft Windows. My endeavors included all things visual—from icon design and screen layout, to the more abstract design patterns found in system architecture and coding. What I discovered along the way was that the most elegant solutions—the products that worked best, most reliably, and resonated strongly with their user base—were always the most simple and minimalist in design. And there was always room for improvement via testing, focus groups, and refactoring (a techie word for the iterative process of &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/67052-why-filmmaking-is-like-software-design/feed/</wfw:commentRss>
		<slash:comments>2</slash:comments>
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		<title>Hero Punk: A Cyberpunk Superhero Film Shot on the Blackmagic Cinema Camera in Green Screen</title>
		<link>http://filmmakermagazine.com/67880-hero-punk-a-cyberpunk-superhero-film-shot-on-the-blackmagic-cinema-camera-in-green-screen/</link>
		<comments>http://filmmakermagazine.com/67880-hero-punk-a-cyberpunk-superhero-film-shot-on-the-blackmagic-cinema-camera-in-green-screen/#comments</comments>
		<pubDate>Mon, 01 Apr 2013 17:14:45 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Directors]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Post-Production]]></category>
		<category><![CDATA[Production]]></category>
		<category><![CDATA[Adobe]]></category>
		<category><![CDATA[Blackmagic Cinema Camera]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=67880</guid>
		<description><![CDATA[Kanen Flowers describes himself as a “former technology guy” who got into filmmaking around 2001 with the goal of writing and directing his own material. In 2007, he started work on Jack Forgotten, a project that he says is still in postproduction. Other projects have met with greater success; he started the That Post Show podcast, and a show called That Media Show, and has produced a variety of shorts and web-based content through his production company, Scruffy.tv. At the moment he’s working on Hero Punk, a full-length feature which was shot using the Blackmagic Cinema Camera. Hero Punk is &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/67880-hero-punk-a-cyberpunk-superhero-film-shot-on-the-blackmagic-cinema-camera-in-green-screen/feed/</wfw:commentRss>
		<slash:comments>2</slash:comments>
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		<title>Color Grading A Glimpse Inside the Mind of Charles Swan III, Part 2: Chris Martin on the Art of the Post-Grade</title>
		<link>http://filmmakermagazine.com/67590-color-grading-a-glimpse-inside-the-mind-of-charles-swan-iii-part-2-chris-martin-on-the-art-of-the-post-grade/</link>
		<comments>http://filmmakermagazine.com/67590-color-grading-a-glimpse-inside-the-mind-of-charles-swan-iii-part-2-chris-martin-on-the-art-of-the-post-grade/#comments</comments>
		<pubDate>Wed, 27 Mar 2013 14:41:47 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Post-Production]]></category>
		<category><![CDATA[DaVinci Resolve]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=67590</guid>
		<description><![CDATA[In this second part on the color grading of the movie A Glimpse Inside the Mind of Charles Swan III, Chris Martin of SPY describes his work to complete the final grade, the workflow, and the color look of the picture. Chris is a senior colorist at SPY, a post house in San Francisco that does both commercial and narrative feature work. SPY is a visual effects house, but they also have their own DI theater. SPY has been owned by FotoKem since 2009. The first half of the grading process is described in: Color Grading A Glimpse Inside the &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/67590-color-grading-a-glimpse-inside-the-mind-of-charles-swan-iii-part-2-chris-martin-on-the-art-of-the-post-grade/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
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		<title>Color Grading A Glimpse Inside the Mind of Charles Swan III, Part 1: Ryan Bozajian on the Art of the Pre-Grade</title>
		<link>http://filmmakermagazine.com/67501-color-grading-a-glimpse-inside-the-mind-of-charles-swan-iii-part-1-ryan-bozajian-on-the-art-of-the-pre-grade/</link>
		<comments>http://filmmakermagazine.com/67501-color-grading-a-glimpse-inside-the-mind-of-charles-swan-iii-part-1-ryan-bozajian-on-the-art-of-the-pre-grade/#comments</comments>
		<pubDate>Tue, 26 Mar 2013 14:37:37 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Post-Production]]></category>
		<category><![CDATA[color correct]]></category>
		<category><![CDATA[DaVinci Resolve]]></category>
		<category><![CDATA[digital intermediate]]></category>
		<category><![CDATA[FCP]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=67501</guid>
		<description><![CDATA[Like most motion pictures, Roman Coppola’s latest film, A Glimpse Inside the Mind of Charles Swan III was color graded in a DI theater at a post house. Unlike many films, this final grading only took two days; extensive &#8220;pre-grading&#8221; was done using Resolve Lite at American Zoetrope’s own facilities, while the final grade was performed at SPY using the full version of Resolve. With color grading taking place in two facilities and by two people, the facilities had to work together to calibrate equipment and create a consistent workflow. In part 1 of this series, VFX artist Ryan Bozajian &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/67501-color-grading-a-glimpse-inside-the-mind-of-charles-swan-iii-part-1-ryan-bozajian-on-the-art-of-the-pre-grade/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>Sony Responds to RED, Blackmagic Fix and Avid Continues to Decline</title>
		<link>http://filmmakermagazine.com/66162-sony-responds-to-red-blackmagic-fix-and-avid-continues-to-decline/</link>
		<comments>http://filmmakermagazine.com/66162-sony-responds-to-red-blackmagic-fix-and-avid-continues-to-decline/#comments</comments>
		<pubDate>Mon, 04 Mar 2013 14:16:34 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Post-Production]]></category>
		<category><![CDATA[Adobe]]></category>
		<category><![CDATA[Avid]]></category>
		<category><![CDATA[Blackmagic Cinema Camera]]></category>
		<category><![CDATA[FCP]]></category>
		<category><![CDATA[Red]]></category>
		<category><![CDATA[Sony]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=66162</guid>
		<description><![CDATA[Two weeks ago RED announced that they were suing Sony for patent infringement for technology used in Sony’s PMW-F5, PMW-F55, and F65 cameras. Last week Sony posted a response on their Pro video website. First noting that the F65 has been commercially available for over a year, and that the F5/F55 were announced in October, they go on to say: Sony has now had an opportunity to study Red&#8217;s complaint and the asserted patents, and categorically denies Red&#8217;s allegations. Sony intends to defend itself vigorously in the Red lawsuit. Sony looks forward to prevailing in court, thus vindicating the Sony &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/66162-sony-responds-to-red-blackmagic-fix-and-avid-continues-to-decline/feed/</wfw:commentRss>
		<slash:comments>4</slash:comments>
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		<title>Cutting for Story: Editor Andrew Weisblum in Conversation</title>
		<link>http://filmmakermagazine.com/65870-cutting-for-story-editor-andrew-weisblum-in-conversation/</link>
		<comments>http://filmmakermagazine.com/65870-cutting-for-story-editor-andrew-weisblum-in-conversation/#comments</comments>
		<pubDate>Wed, 27 Feb 2013 21:30:48 +0000</pubDate>
		<dc:creator>Heather von Rohr</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Post-Production]]></category>
		<category><![CDATA[Andrew Weisblum]]></category>
		<category><![CDATA[Black Swan]]></category>
		<category><![CDATA[Darren Aronofsky]]></category>
		<category><![CDATA[editing]]></category>
		<category><![CDATA[Moonrise Kingdom]]></category>
		<category><![CDATA[The Darjeeling Limited]]></category>
		<category><![CDATA[Wes Anderson]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=65870</guid>
		<description><![CDATA[Thelma Schoonmaker and Martin Scorsese. Walter Murch and Francis Ford Coppola. Tim Squyres and Ang Lee. For many an editor, these longtime creative partnerships represent the most alluring and elusive of career ideals. For editor Andrew Weisblum, that ideal is well on the way to becoming a reality — twice over. Since 2007, Weisblum has cut all of both Wes Anderson’s and Darren Aronofsky’s feature films, ranging in style from the witty charm of Fantastic Mr. Fox to the demented psychodrama of Black Swan (for which Weisblum was Oscar nominated). Kicking off this year’s Manhattan Edit Workshop series “Inside the &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/65870-cutting-for-story-editor-andrew-weisblum-in-conversation/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
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		<title>Making HENRi: A Low-Budget Sci-fi Short Film Odyssey</title>
		<link>http://filmmakermagazine.com/65738-making-henri-a-low-budget-sci-fi-short-film-odyssey/</link>
		<comments>http://filmmakermagazine.com/65738-making-henri-a-low-budget-sci-fi-short-film-odyssey/#comments</comments>
		<pubDate>Mon, 25 Feb 2013 20:58:53 +0000</pubDate>
		<dc:creator>Eli Sasich</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Post-Production]]></category>
		<category><![CDATA[Production]]></category>
		<category><![CDATA[Kickstarter]]></category>
		<category><![CDATA[low budget]]></category>
		<category><![CDATA[miniatures]]></category>
		<category><![CDATA[visual effects]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=65738</guid>
		<description><![CDATA[A little over three years ago, I decided I wanted to make a sci-fi short film about a robot trying to become human. My idea was to combine live action with miniatures and rod-puppetry – despite having no previous experience with special effects. Initial reactions from family, friends, and collaborators were of the &#8220;Are you insane?&#8221; variety – perhaps rightfully so. It was at that point I knew I had to make the film. What followed was an odd combination of luck, coincidence, and disaster – three ingredients that are rarely talked about, yet I’m convinced are completely inseparable from &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/65738-making-henri-a-low-budget-sci-fi-short-film-odyssey/feed/</wfw:commentRss>
		<slash:comments>3</slash:comments>
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		<title>The Oscars Honors Imagineer Systems&#8217; Mocha</title>
		<link>http://filmmakermagazine.com/65584-the-oscars-honors-imagineer-systems-mocha/</link>
		<comments>http://filmmakermagazine.com/65584-the-oscars-honors-imagineer-systems-mocha/#comments</comments>
		<pubDate>Fri, 22 Feb 2013 20:02:52 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Post-Production]]></category>
		<category><![CDATA[Mocha]]></category>
		<category><![CDATA[motion tracking]]></category>
		<category><![CDATA[VFX]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=65584</guid>
		<description><![CDATA[This Sunday is the Oscars, and as is tradition, the really interesting awards – for scientific and technical achievements – were made at an event on February 9. This year Imagineer Systems was presented with an award for their product Mocha, and its underlying Planar Tracking technology. The company was recognized for their “proven record of contributing significant value to the post-production process of making motion pictures.” As a planar tracker – rather than a point tracker – Mocha is able to motion track problematic things such as out of focus footage. Motion blur breaks point trackers, but in Mocha you &#8230;]]></description>
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		<slash:comments>0</slash:comments>
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		<title>The Need for Speed: Tools to Help You Edit Faster</title>
		<link>http://filmmakermagazine.com/65276-the-need-for-speed-tools-to-help-you-edit-faster/</link>
		<comments>http://filmmakermagazine.com/65276-the-need-for-speed-tools-to-help-you-edit-faster/#comments</comments>
		<pubDate>Thu, 14 Feb 2013 18:39:38 +0000</pubDate>
		<dc:creator>Joey Daoud</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Post-Production]]></category>
		<category><![CDATA[BetterTouchTool]]></category>
		<category><![CDATA[editing]]></category>
		<category><![CDATA[FCPX]]></category>
		<category><![CDATA[ProCutX]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=65276</guid>
		<description><![CDATA[Anyone who&#8217;s joined the FCPX bandwagon will tell you one of the main draws is speed (or at least I will). FCPX let&#8217;s you do things quicker. But how we interact with the system (and computers in general) has its limitations. For years the standard of working with NLEs has been left fingers planted on J, K, L, right hand on mouse. It&#8217;s not a terribly bad way to edit. Doing it for years you build up a fast muscle memory, but there are still keyboard tasks that stretch the limit of what you can remember, along with the span &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/65276-the-need-for-speed-tools-to-help-you-edit-faster/feed/</wfw:commentRss>
		<slash:comments>3</slash:comments>
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		<title>Canon C100 Does 4:2:2 with the Ninja Video Recorder</title>
		<link>http://filmmakermagazine.com/64918-canon-c100-does-422-with-the-ninja-video-recorder/</link>
		<comments>http://filmmakermagazine.com/64918-canon-c100-does-422-with-the-ninja-video-recorder/#comments</comments>
		<pubDate>Thu, 07 Feb 2013 15:21:37 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Post-Production]]></category>
		<category><![CDATA[Canon C100]]></category>
		<category><![CDATA[Ninja]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=64918</guid>
		<description><![CDATA[In yesterday’s article “Canon C100 or C300: Which One to Get?” I wrote about the ability to attach an external recorder to the C100 and record 4:2:2 video, but added: Is 4:2:2 out of the C100 exactly the same as 4:2:2 from the C300? That’s a question I haven’t yet seen a definitive answer to, though a lot of people are assuming it is, or it’s very close. Today, I’m at least a step closer to answering that question. Paul Antico of Anticipate Media, and host of the NeedCreative Podcast, sent me some sample frames taken from Atomos Ninja 2 &#8230;]]></description>
		<wfw:commentRss>http://filmmakermagazine.com/64918-canon-c100-does-422-with-the-ninja-video-recorder/feed/</wfw:commentRss>
		<slash:comments>6</slash:comments>
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		<title>Seeing RED at Sundance</title>
		<link>http://filmmakermagazine.com/64353-seeing-red-at-sundance/</link>
		<comments>http://filmmakermagazine.com/64353-seeing-red-at-sundance/#comments</comments>
		<pubDate>Wed, 30 Jan 2013 05:15:52 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Cinematography]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Post-Production]]></category>
		<category><![CDATA[Adobe]]></category>
		<category><![CDATA[RED camera]]></category>
		<category><![CDATA[Sundance Film Festival 2013]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=64353</guid>
		<description><![CDATA[If you’re shooting a full-length feature, the cost of purchasing, developing and transferring your film to digital can easily be more than the cost of a digital camera. (If your shooting ratio is 4:1, you’d spend over $10,000 for 16mm and $20,000 for 35mm.) And in some cases more than the total budget of your film. It’s no wonder then, that digital cameras have become dominant in indie film production, and that RED, with its head start as an “affordable” digital cinema camera, has become dominant at Sundance. Ted Schilowitz, co-founder of RED Digital Cinema, noted that “there are so &#8230;]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Tempo: A budget VFX lesson from Seth Worley and Red Giant</title>
		<link>http://filmmakermagazine.com/64050-tempo-a-budget-vfx-lesson-from-seth-worley-and-red-giant/</link>
		<comments>http://filmmakermagazine.com/64050-tempo-a-budget-vfx-lesson-from-seth-worley-and-red-giant/#comments</comments>
		<pubDate>Mon, 28 Jan 2013 14:00:47 +0000</pubDate>
		<dc:creator>Michael Murie</dc:creator>
				<category><![CDATA[Directing]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Post-Production]]></category>
		<category><![CDATA[Production]]></category>
		<category><![CDATA[Red Giant]]></category>
		<category><![CDATA[visual effects]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=64050</guid>
		<description><![CDATA[Red Giant is known for their effects software, including Magic Bullet Looks, Colorista and Trapcode Particular. But they are also developing a name for themselves with a series of short films that are both entertaining and great demos of how-to-do effects on a budget. It probably doesn’t hurt that they also demonstrate how to use their software too! Director Seth Worley and Aharon Rabinowitz, director of Communities at Red Giant, spoke at a recent meeting of the Boston Creative Pro Users Group about the production of their latest short, Tempo. Worley first came to Red Giant’s attention when the company &#8230;]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Daniel Schechter, Supporting Characters</title>
		<link>http://filmmakermagazine.com/63848-daniel-schechter-supporting-characters/</link>
		<comments>http://filmmakermagazine.com/63848-daniel-schechter-supporting-characters/#comments</comments>
		<pubDate>Wed, 23 Jan 2013 19:37:08 +0000</pubDate>
		<dc:creator>Brandon Harris</dc:creator>
				<category><![CDATA[Directing]]></category>
		<category><![CDATA[Directors]]></category>
		<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Financing]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Post-Production]]></category>
		<category><![CDATA[Screenwriting]]></category>
		<category><![CDATA[Alex Karpovsky]]></category>
		<category><![CDATA[Daniel Schechter]]></category>
		<category><![CDATA[Jackie Brown]]></category>
		<category><![CDATA[Supporting Characters]]></category>
		<category><![CDATA[Tribeca Film Festival]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=63848</guid>
		<description><![CDATA[A genuine meditation on male friendship, the absurdities of indie moviedom and many different kinds of loyalty, Daniel Schechter’s Supporting Characters, a surprise hit at last year&#8217;s Tribeca Film Festival, sneaks up on you, its seeming limitations becoming its strengths over the course of its easy-going 87 minutes. Despite being shot in a fashion that recalls a comedy you might find on FX, Supporting Characters maintains an old-fashioned, craftsman-like quality about it; it’s written with feeling and humor that rings with truth, offering us characters whose lives are as complicated and full of ambiguity as our own. Alex Karpovsky and newcomer Tarik Lowe have &#8230;]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>7 Recommended No-Budget Post-Production Tools</title>
		<link>http://filmmakermagazine.com/63006-7-recommended-no-budget-post-production-tools/</link>
		<comments>http://filmmakermagazine.com/63006-7-recommended-no-budget-post-production-tools/#comments</comments>
		<pubDate>Thu, 17 Jan 2013 14:00:19 +0000</pubDate>
		<dc:creator>Craig Bergonzoni</dc:creator>
				<category><![CDATA[Filmmaking]]></category>
		<category><![CDATA[Post-Production]]></category>
		<category><![CDATA[Blender]]></category>
		<category><![CDATA[color correct]]></category>
		<category><![CDATA[DaVinci]]></category>
		<category><![CDATA[editing]]></category>
		<category><![CDATA[FCP]]></category>
		<category><![CDATA[Gimp]]></category>
		<category><![CDATA[Lightworks]]></category>
		<category><![CDATA[Pixelmator]]></category>

		<guid isPermaLink="false">http://filmmakermagazine.com/?p=63006</guid>
		<description><![CDATA[Being an independent filmmaker means we are often times working with very little money but still making our projects happen. We use any tools and tricks we can get our hands on to help us finish or enhance our films. Of course these have to fit within our budgetary constraints. Here is a list of post production tools that are affordable for the no budget filmmaker. 1. Blender - 3D Modeling &#38; Animation (Win, Linux &#38; Mac) I&#8217;m constantly amazed at what this FREE program can do. It includes many features found in competing 3D apps that cost hundreds and many &#8230;]]></description>
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		<slash:comments>3</slash:comments>
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