Misha Aranyshev
Film Editor
I grew up around film sets and studio backlots learned to splice 35 mm at the age of 10 and genuinely liked the smell of a film lab stop bath. I've been working with digital images since 1994 and for the last two decades, I am in motion picture post-production. I can edit on a flatbed, tape to tape and non–linear.
I edited six feature films, conformed a dozen, was a post-production supervisor on another three. I oversaw projects ranged from 30 sec. commercial spot to multi-episode series. I turned a motion graphics boutique into a postproduction powerhouse. I coordinated vendors across three country borders and six time zones.
I worked with features shot on 35 and 16 mm, R3D, ARRIRAW, and Phantom Cine. I can wire audio and video, I can read scopes and VU-meters, I can ingest, transcode, generate EDL's and cut lists and lay back to tape. I'm not afraid of DCP, IMF, ACES, SAN and LTO. I am trained in Dolby Vision mastering.
Goodbye, No Film School.
That's a second Kevin Smith article in two weeks. A third strike and I quit.
May we be spared of more Kevin Smith, please? Enough already that he is all over the IMDb.
First. Nvidia needs to provide correct API for this functionality. Second, Blackmagic needs to assign a few programmers to make Resolve talk to this API. It doesn't make any financial sense for either company.
Rec 709 is close to sRGB and P3 is digital cinema gamut. It is not about "tastes". Video IO is traditionally not only "Out" but also "In". Neither AMD nor NVIDIA cares much about capturing video.
Like The Black List is any better.