... is an award winning Brooklyn-based filmmaker and writer whose first celluloid love was “Godzilla.” Since age 9, he’s been chasing monsters and men, camera in hand. His chief inspirations are classic German Expressionist cinema, the free-wheeling creativity of Terry Gilliam, and the fog-shrouded forests of his New Hampshire birthplace. Through his films, Peter strives to unlock the experience of "ecstatic cinema" -- a viewing experience that challenges, delights, and sweeps up the audience in equal measures. His work has appeared in American Cinematographer, Red Shark News, various broadcast networks, and various festivals around the world.
Too many cooks spoiling the broth. A complex edit can be a handful enough on its own, but when you add in multiple collaborators things can get complicated very quickly. Peter Haas gives us his essential tips on managing more complicated workflows in the edit room.
There are times when working in an office with the latest hardware isn't an option. It could be that you're being brought out to the field so you can begin editing as soon as possible, or maybe you're going on holiday but need to bring your edit with you. Peter Haas takes a look at some truly portable options.
Anyone who has spent time in the editing room can quickly identify the hallmarks of the stereotypical post-production environment: a small, dark, windowless room in which the air conditioning is usually turned up to eleven. Being in post also means spending long hours sitting in front of a computer, gripping mice, and clicking away at keyboards, all of which can be both physically and physiologically daunting. How can we make this task a much more pleasant one?
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