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	<title>Below the Line &#187; Postproduction</title>
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	<description>Voice of the Crew</description>
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		<title>Making TV and Movies, NYC Style</title>
		<link>http://www.btlnews.com/crafts/post-production/making-tv-and-movies-nyc-style/</link>
		<comments>http://www.btlnews.com/crafts/post-production/making-tv-and-movies-nyc-style/#comments</comments>
		<pubDate>Wed, 16 May 2012 15:43:25 +0000</pubDate>
		<dc:creator>Staff</dc:creator>
				<category><![CDATA[Commercials]]></category>
		<category><![CDATA[Editing]]></category>
		<category><![CDATA[News]]></category>
		<category><![CDATA[Postproduction]]></category>
		<category><![CDATA[Morning News]]></category>

		<guid isPermaLink="false">http://www.btlnews.com/?p=28213</guid>
		<description><![CDATA[The <strong>New York City Mayor's Office of Media and Entertainment</strong> has released its latest Reel Jobs campaign, promoting film and television production in the city. The five-spot effort, directed by <strong>Artists Company</strong>'s <strong>Mike Rowles</strong>, was edited by <strong>Fluid Editorial</strong> while <strong>Nice Shoes</strong> handled color grading, conform and mastering. All three companies are based in New York.]]></description>
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		<title>HPA Announces Call for Entries</title>
		<link>http://www.btlnews.com/awards/hpa-announces-call-for-entries/</link>
		<comments>http://www.btlnews.com/awards/hpa-announces-call-for-entries/#comments</comments>
		<pubDate>Wed, 16 May 2012 15:43:11 +0000</pubDate>
		<dc:creator>Staff</dc:creator>
				<category><![CDATA[Awards]]></category>
		<category><![CDATA[Commercials]]></category>
		<category><![CDATA[Events]]></category>
		<category><![CDATA[Film]]></category>
		<category><![CDATA[News]]></category>
		<category><![CDATA[Postproduction]]></category>
		<category><![CDATA[Television]]></category>
		<category><![CDATA[Morning News]]></category>

		<guid isPermaLink="false">http://www.btlnews.com/?p=28198</guid>
		<description><![CDATA[The <strong>Hollywood Post Alliance</strong> announced the call for entries for the 2012 HPA Awards.  The awards honor the individuals and companies engaged in noteworthy and groundbreaking work in postproduction. The gala award ceremony will take place on Nov. 1, 2012 at the Skirball Cultural Center in Los Angeles. This year’s competition marks the seventh year of the HPA Awards. ]]></description>
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		<title>Legend3D Introduces Stereo Works</title>
		<link>http://www.btlnews.com/crafts/post-production/legend3d-introduces-stereo-works/</link>
		<comments>http://www.btlnews.com/crafts/post-production/legend3d-introduces-stereo-works/#comments</comments>
		<pubDate>Tue, 15 May 2012 15:52:26 +0000</pubDate>
		<dc:creator>Staff</dc:creator>
				<category><![CDATA[Facility in Focus]]></category>
		<category><![CDATA[Film]]></category>
		<category><![CDATA[News]]></category>
		<category><![CDATA[Postproduction]]></category>
		<category><![CDATA[Visual FX]]></category>
		<category><![CDATA[Morning News]]></category>

		<guid isPermaLink="false">http://www.btlnews.com/?p=28160</guid>
		<description><![CDATA[San Diego-based stereoscopic conversion specialist <strong>Legend3D</strong> announced the launch of <strong>Stereo Works</strong>, a new division dedicated to collaborating with entertainment studios to create seamless stereo images for feature films. Stereo Works will leverage the company’s propriety 3D-conversion technologies to address a variety of stereoscopic issues faced by today’s studios. ]]></description>
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		<slash:comments>0</slash:comments>
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		<title>MPC Goes Global for Coombes&#8217; Debut Video</title>
		<link>http://www.btlnews.com/crafts/post-production/mpc-goes-global-for-coombes-debut-video/</link>
		<comments>http://www.btlnews.com/crafts/post-production/mpc-goes-global-for-coombes-debut-video/#comments</comments>
		<pubDate>Thu, 10 May 2012 15:53:07 +0000</pubDate>
		<dc:creator>Staff</dc:creator>
				<category><![CDATA[Commercials]]></category>
		<category><![CDATA[News]]></category>
		<category><![CDATA[Postproduction]]></category>
		<category><![CDATA[Visual FX]]></category>
		<category><![CDATA[Morning News]]></category>

		<guid isPermaLink="false">http://www.btlnews.com/?p=28033</guid>
		<description><![CDATA[<strong>MPC LA</strong> recently teamed up with directing duo <strong>dom&#038;nic</strong> (<strong>Nic Goffey</strong> and <strong>Dominic Hawley</strong>) to handle a full range of VFX needs on English singer-songwriter <strong>Gaz Coombes</strong>' debut music video. In less than three weeks, the studio worked around the clock between their LA, London and Bangalore studios to handle everything from interactive 3D and 2D lighting to 3D animation, rendering and compositing.]]></description>
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		<title>Wild(child) Editorial/NY Signs Executive Producer Amy Lazarus</title>
		<link>http://www.btlnews.com/crafts/post-production/wildchild-editorialny-signs-executive-producer-amy-lazarus/</link>
		<comments>http://www.btlnews.com/crafts/post-production/wildchild-editorialny-signs-executive-producer-amy-lazarus/#comments</comments>
		<pubDate>Thu, 10 May 2012 15:52:47 +0000</pubDate>
		<dc:creator>Staff</dc:creator>
				<category><![CDATA[Commercials]]></category>
		<category><![CDATA[Editing]]></category>
		<category><![CDATA[News]]></category>
		<category><![CDATA[Postproduction]]></category>
		<category><![CDATA[Who's Where?]]></category>
		<category><![CDATA[Morning News]]></category>

		<guid isPermaLink="false">http://www.btlnews.com/?p=28026</guid>
		<description><![CDATA[Executive producer <strong>Amy Lazarus</strong> has signed with New York-based <strong>Wild(child) Editorial</strong>. Lazarus brings a broad range of skills and an in-depth knowledge of postproduction to the table. The veteran executive producer honed her craft during a 10-year stint at <strong>Mad River Post</strong>, followed by a position at <strong>BlueRock</strong> as the New York editorial house’s executive producer. In 2009 Lazarus set out to broaden her scope of experience in the freelance arena.  During the past three years she has been tapped by a steady stream of cutting houses that includes <strong>Beast</strong>, <strong>Company X</strong>, <strong>Consulate</strong>, <strong>NO6</strong>, <strong>Homestead</strong>, <strong>Cut and Run</strong>, <strong>Lost Planet</strong> and <strong>Jump</strong>.]]></description>
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		<title>Codex Powers ARRIRAW Workflow for Riddick</title>
		<link>http://www.btlnews.com/crafts/post-production/codex-powers-arriraw-workflow-for-riddick/</link>
		<comments>http://www.btlnews.com/crafts/post-production/codex-powers-arriraw-workflow-for-riddick/#comments</comments>
		<pubDate>Wed, 09 May 2012 15:59:22 +0000</pubDate>
		<dc:creator>Staff</dc:creator>
				<category><![CDATA[Camera]]></category>
		<category><![CDATA[Film]]></category>
		<category><![CDATA[News]]></category>
		<category><![CDATA[Postproduction]]></category>
		<category><![CDATA[Visual FX]]></category>
		<category><![CDATA[Morning News]]></category>

		<guid isPermaLink="false">http://www.btlnews.com/?p=27987</guid>
		<description><![CDATA[<strong>Michel Trudel Inc.</strong>, operators of Canada’s largest production studio, supplied <strong>Codex</strong> recording and workflow technologies to the long anticipated sequel to <em>Pitch Black</em> and <em>The Chronicles of Riddick</em>, tentatively titled <em>Riddick</em>. Codex Onboard recorders were used to capture ARRIRAW data from two <strong>ARRI</strong> Alexa cameras. A Codex Transfer Station was used for on-set dailies processing, backup and deliverables production.]]></description>
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		<slash:comments>0</slash:comments>
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		<title>Film Chest Builds End-To-End Restoration Pipeline with Digital Vision Tools</title>
		<link>http://www.btlnews.com/crafts/post-production/film-chest-builds-end-to-end-restoration-pipeline-with-digital-vision-tools/</link>
		<comments>http://www.btlnews.com/crafts/post-production/film-chest-builds-end-to-end-restoration-pipeline-with-digital-vision-tools/#comments</comments>
		<pubDate>Wed, 09 May 2012 15:58:28 +0000</pubDate>
		<dc:creator>Staff</dc:creator>
				<category><![CDATA[Film]]></category>
		<category><![CDATA[News]]></category>
		<category><![CDATA[Postproduction]]></category>
		<category><![CDATA[Television]]></category>
		<category><![CDATA[Morning News]]></category>

		<guid isPermaLink="false">http://www.btlnews.com/?p=28016</guid>
		<description><![CDATA[Bridgeport, Conn.-based <strong>Film Chest</strong> recently installed a new Golden Eye III film scanner and Phoenix digital restoration and mastering system from <strong>Digital Vision</strong>, to power its expanded pipeline for television and motion picture restoration and distribution. ]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Academy Expands Film Preservation Efforts</title>
		<link>http://www.btlnews.com/crafts/post-production/academy-expands-film-preservation-efforts/</link>
		<comments>http://www.btlnews.com/crafts/post-production/academy-expands-film-preservation-efforts/#comments</comments>
		<pubDate>Tue, 08 May 2012 15:57:11 +0000</pubDate>
		<dc:creator>Staff</dc:creator>
				<category><![CDATA[Community]]></category>
		<category><![CDATA[Film]]></category>
		<category><![CDATA[News]]></category>
		<category><![CDATA[Postproduction]]></category>
		<category><![CDATA[Morning News]]></category>

		<guid isPermaLink="false">http://www.btlnews.com/?p=27946</guid>
		<description><![CDATA[The <strong>Academy of Motion Picture Arts and Sciences</strong> announced that it has expanded its film preservation efforts under the banner of its Film-to-Film initiative – a $2 million effort to acquire and create new archival film masters and prints from at-risk elements. As the rise of digital technology drastically reduces the availability of film stock, the project accelerates the work of the Academy Film Archive. The project focuses largely on past Academy Award-winning and nominated films, including works made as recently as the 1990s.]]></description>
		<wfw:commentRss>http://www.btlnews.com/crafts/post-production/academy-expands-film-preservation-efforts/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<item>
		<title>Adobe Creative Suite 6 Now Available</title>
		<link>http://www.btlnews.com/crafts/post-production/adobe-creative-suite-6-now-available/</link>
		<comments>http://www.btlnews.com/crafts/post-production/adobe-creative-suite-6-now-available/#comments</comments>
		<pubDate>Tue, 08 May 2012 15:55:22 +0000</pubDate>
		<dc:creator>Staff</dc:creator>
				<category><![CDATA[Gear]]></category>
		<category><![CDATA[News]]></category>
		<category><![CDATA[Postproduction]]></category>
		<category><![CDATA[Visual FX]]></category>
		<category><![CDATA[Morning News]]></category>

		<guid isPermaLink="false">http://www.btlnews.com/?p=27970</guid>
		<description><![CDATA[<strong>Adobe Systems</strong> announced the immediate availability of Adobe Creative Suite 6 software. The CS6 product line includes new releases of Photoshop, InDesign, lllustrator, Dreamweaver, Adobe Premiere Pro, After Effects, Flash Professional and other products as well as four suite versions – Creative Suite 6 Design &#38; Web Premium; Creative Suite 6 Design Standard; Creative Suite 6 Production Premium; and Creative Suite 6 Master Collection.]]></description>
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		<slash:comments>0</slash:comments>
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		<title>James Cameron Relies on DVS to Monitor Stereo Conversion of Titanic</title>
		<link>http://www.btlnews.com/crafts/post-production/james-cameron-relies-on-dvs-to-monitor-stereo-conversion-of-titanic/</link>
		<comments>http://www.btlnews.com/crafts/post-production/james-cameron-relies-on-dvs-to-monitor-stereo-conversion-of-titanic/#comments</comments>
		<pubDate>Tue, 08 May 2012 15:54:54 +0000</pubDate>
		<dc:creator>Staff</dc:creator>
				<category><![CDATA[Film]]></category>
		<category><![CDATA[News]]></category>
		<category><![CDATA[Postproduction]]></category>
		<category><![CDATA[Visual FX]]></category>
		<category><![CDATA[Morning News]]></category>

		<guid isPermaLink="false">http://www.btlnews.com/?p=27949</guid>
		<description><![CDATA[Director <strong>James Cameron</strong> and his team from <strong>Lightstorm Entertainment</strong> relied on digital mastering and stereoscopic technology from <strong>DVS</strong> for review and approval of scenes from the recently released stereoscopic version of <em>Titanic</em>. DVS’s CLIPSTER and FUZE systems were used extensively to review scenes from the movie in stereo as it was undergoing the 3D conversion process, playing back uncompressed 2K media in stereo, which allowed Cameron to view the film on a big screen as audiences will see it in cinemas.]]></description>
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