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Editing

Strategies for Music and Sound Design (Part 3 of 3)

By Scotty Vercoe
Music and sound design is an important aspect of any film.

Defining an overall sonic approach to a project can be more than half the battle. The third part in our series about music and film covers the importance of the composer in filmmaking.

Final Cut Pro vs. Avid Media Composer vs. Adobe Premiere: Editors State Their Preferences

By Maud Dillingham
A comparison of no-linear editing software.

With the emergence of Final Cut Pro X, Apple continues to make converts out of Avid Media Composer and Adobe Premiere editors, but every editor has their preferences, and their reasons for them.

See, Spot, Run: Working with Composers, part 2 of 3

By Scotty Vercoe
Scoring a film using Apple's Logic Pro software. "Mildred'$ Million$" by Talent Tools Productions.

Whether face-to-face or virtual, having a productive “spotting session” is the key to opening lines of communication between directors and composers. Part two of our three part series about music and film covers describes the importance of the composer in filmmaking.

Boston Creative Pro User Group Nurtures New England Filmmakers

By Maud Dillingham
Filmmakers Dan Bérubé and Dan Hannon presenting at BOSCPUG, November 2013. © 2013 Don Schaefer, used with permission.

Boston Creative Pro User Group (BOSCPUG) connects area filmmakers and editors for information, networking, and inspiration.

Shivers from Timbres: Building Emotional Soundtracks, part 1 of 3

By Scotty Vercoe
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Examining music’s emotional effect is an essential part of developing effective soundtracks. Part 1 in our three part series about music and film covers the elusive element of emotion in music and how it can be used to best accompany visual media. Additional articles in the series will cover music spotting sessions and film scoring.

Recap: Most Popular NewEnglandFilm.com Stories of 2012

By Michele Meek
Who's Calling? was featured in one of the most popular stories of 2012: iFilmmakers: Are Smartphones the Next Step in Filmmaking

Here's a recap of NewEnglandFilm.com's 15 most popular stories from 2012 and five stories from the archives with the most views.

Opening Credits: Who, What, Where, When and Why

By Peter Bohush
From the opening credits of A Farewell to Arms

Opening credits are a functional as well as creative part of movies. Telling the audience who is in the movie, as well as other known talent such as writers, directors and composers, sets the stage for what’s to come. Check out an example here.

Hey You, Get Onto My Cloud

By Peter Bohush
Adobe Creative Cloud

Don't want to shell out $2,599 for Adobe's software? Now you can rent it with the Creative Cloud, a new subscription model.

Adobe CS6: New & Improved Production Tools

By Peter Bohush
Adobe Creative Suite 6

Check out Peter Bohush's video and review of Creative Suite version 6.

Digieffects: Making Damage & Delirium a Good Thing

By Peter Bohush
Digieffects was used here to expand the dynamic range between the brights & darks of DSLR footage, while maintaining contrast

People think it’s always sunny and warm here in Los Angeles, but I like to point out that we have four distinct seasons: fire, mudslides, riots and earthquakes. If one needed to represent L.A.’s seasons in a movie, Digieffects would be a go-to tool to get the job done.

Mocha Pro: The Amazing Planar-Tracking Thingamajig

By Peter Bohush
Screengrab from Mocha Pro

Mocha Pro, from Imagineer Systems, is a complex program that take the complicated process of visual effects motion tracking, rotoscoping, match moving and compositing and makes it super simple.

Tiffen Dfx 3.0: There's a DP in My Editing System!

By Peter Bohush
Effects from Tiffen Dfx 3.0

Tiffen Dfx 3.0: It’s like having a Director of Photography hiding inside your editing system.

Magic Bullet Suite: Taking it to Eleven

By Peter Bohush
A screenshot from the latest version of Magic Bullet Suite

The suite gets sweeter. Peter Bohush returns to the Magic Bullet Suite to give you the 411 on Version 11.

Camera Moves Using Sliders - The Dolly Alternative

By Peter Bohush

Director-cinematographer Peter Bohush shows the basic camera slider from Igus.

The Magic Bullet for Giving a Blockbuster Look to Your Film

By Peter Bohush
Magic Bullet Looks offers 100 preset movie looks that can be applied to a video with a single click.

On the “cool scale” nothing comes close to the ease with which you can make your drab video look like a Hollywood blockbuster movie with the post-production software bundle Magic Bullet Suite 10.

Three Must-Have Tools for Advanced Editing

By Peter Bohush
Boris Continuum Complete 7

Boris Continuum Complete 7, FxFactory & dvMatte Pro Studio 3 can take your editing to a pro level.

Industry News - November 2010

By Casey Stirling
Left to Right:  Nia Hatspolous, producer; Richard LeMay, director; Vitaly Bokser, Director of Photography

From new studios to new fellowships to new films appearing in festivals galore, the New England Film Industry is hopping this November 2010. To report news, email news@newenglandfilm.com.

How to Edit for Children’s Television

By Mike Sullivan
Fetch! is a reality show for kids, integrating live-action and animation.

Senior editor Arnie Harchik explains how he integrates 500 hours of studio, location, animated, and audio footage to create one season of WGBH’s Fetch! With Ruff Ruffman.

Don't Cut This Class: Future Media Concepts

By April Gardner
Future Media Concepts recently moved to Kendall Square.

Warp speed your knowledge of postproduction through coursework at facilities like Future Media Concepts.

At Long Last: Editor User Groups Combine Forces

By Mike Sullivan
Last month's Boston Avid and FCP user group meeting drew a packed house.

In the first of a two-part series, editor Mike Sullivan investigates how Boston’s Avid and Final Cut Pro user groups find common ground in tumultuous times.

Perseverance in Post

By Mike Sullivan
Julie Checkoway returns to Newburyport this month.
Sister/brother duo Julie and Neal Checkoway describe the process of editing their first documentary, Waiting for Hockney, which screens this month at the Newburyport Documentary Film Festival.

How to be a Master Editor

By Nikki Chase
Thelma Schoonmaker accepts her Oscar for editing The Departed.
Three-time Oscar winner, Thelma Schoonmaker, shares tricks of the trade, how to break into "the business" and what it's really like to work with Marty.

The Ultimated DV Storage Drive

By Peter Bohush
A photo featuring the VideoRaid system.
Writer Peter Bohush profiles Medea Corporation's VideoRaid with his usual tongue-in-cheek humor.

Apple of an Editor's Eye

By Peter Bohush
Final Cut Pro 1.25
Peter Bohush reports on what's new with Final Cut Pro 1.25.

Getting in Tune

By Kristen Paulson
music
If getting music rights to your film seems as daunting as a trip to the DMV, you're not alone. Here's a step-by-step guide to make it through the maze.

First-Hand Adventures of a First-Time Filmmaker, Part 6: Post-Production and the Discomfort Zone

By Lorre Fritchy
Sandy Slade puts a ball on the finger and a smile on the face of a Hoop City fan in Philly. (Photo: Lorre Fritchy)
Lorre Fritchy dives into post-production of her documentary "Sandy 'Spin' Slade: Beyond Basketball."

Keeping in Sync

By Sam KauffmannAn informative chapter on "Keeping in Sync" from Sam Kauffmann's book "Avid Editing."

What Makes a Good Editor?

By Lillian Baulding & Jessica Stephan
Errol Morris
Hear the secret to editing from local producers such as Errol Moris, the filmmaker of "A Midwife's Tale" and others.

Going Native: A New Nonlinear Editing System

By Fred Muchnik
editing
A new nonlinear editing system enters the marketplace and sets a new standard for this former Avid user.