Hi everyone, I’m curious what your experience has been with post-production conferences in general. Have you found them genuinely useful for networking and learning, or do they tend to be more worthwhile when you already know people in the industry? Asking because Post Atlanta Conference is coming up in September, and tickets are $249. I’m trying to decide whether it’s worth investing the money as someone looking to re-enter the industry, and where I should set my expectations. Thank you!

I have not been on here for awhile as life has thrown a curveball to address. My question is: Is it possible to work/get work in the Los Angeles market if you do not live in Los Angles via the internet? I have an opportunity to live in Wisconsin and takeover ownership of a house and take care of an ill family member. I currently rent an apartment in North Hollywood, CA. I do have another family member to care for our ill one. However, the house would be sold and I don't know if I'd ever be able to own one due to high costs. I have been working off and on for 20 years in LA and I do want to finish this program and hoping for the industry to refuel. In a pefect world I would be able to work remote from Wisconsin and maintain and expand my industry post production career. In North Hollywood I live in a rent controlled apartment. Not the nicest but for what rentals go now days for a much smaller place I hate to lose it if I can not maintain a post production career. What are your suggestions. I'm open for feedback. Thank you in advance.

These are custom bin views for the Codebook and VFX pulls. They are posted in both the Codebook module of FFAEI and the stand-alone Codebook classroom. You should find these helpful when working with the Codebook or going through the Codebook module.

Three stories crossed my desk this week that every editor should know about. Two are about Hollywood making room for AI. The third is about a new model, and a reminder to read the fine print. 1. Culver City is turning into an AI studio town. The LA Times counts a cluster of AI filmmaking companies moving in: Promise, TrueShort, Native Foreign, PhantomX and Luma AI, which took a 7,000-square-foot space for its Dream Lab. Promise works hybrid: real actors on real soundstages, with AI handling backgrounds, visual effects and synthetic humans. Not "push a button, get a movie." Real crews, new tools. (The unions are watching closely, and they should be.) 2. AI studios now have a manager. Variety is reporting that former UTA agent Dante DeSario launched Collage, a management and investment company that walks AI-first studios through the guilds, the studios and the copyright questions. Backers include Black Bear, Roy Lee and Marty Bowen. Clients include Asteria, Native Foreign, Obsidian and Jason Zada's Secret Level. When Hollywood builds representation for something, it has decided that something is real. And his word for what separates the good ones? Taste. 3. A fast, free video model... with a catch. Hao AI Lab released FastH3 Omni, a sped-up version of MiniMax's H3 model. Feed it reference images, clips and a voice, and it gives you video with sound, up to about 12x faster than the original by their own numbers. It already works in ComfyUI. Everyone called it "open." Here's the thing: the license on the model doesn't cover the US, the UK, the EU or South Korea. If you're here, you have to ask MiniMax for permission first. Read the license before the benchmark.

Avid and Google Cloud made an announcement at IBC in Amsterdam, which wrapped yesterday. Every assistant editor should read it, because the jobs it names are ours. What they showed: • Media Composer running inside the Chrome browser. • A feature Avid calls Ready to Edit. You type a plain request, and it syncs media, transcribes and aligns dialogue, and organizes project bins. • A Gemini panel (Google's AI) inside Media Composer that can tag and log media, translate, find stock footage, and generate B-roll. • Avid Content Core, their media library, writing transcripts and descriptions as footage comes in, so you can search for a shot in plain words. Sync. Transcribe. Organize bins. Log. That's day one on any show. Before anyone panics, three things: 1. This was a trade show demo. No price, no ship date. 2. It's built around Content Core and Google Cloud. My read is it shows up at big facilities and broadcasters first, not on a freelancer's laptop next month. 3. The headline number, 79% of editors using AI, comes from a survey of 120 Avid customers. Useful, not the whole industry. So what does it mean for us? The prep isn't going away. What's changing is who does the first pass. Somebody still has to catch the sync that's a frame off, the transcript that puts a line in the wrong character's mouth, and bins that make no sense to the editor who has to live in them. Software can build a bin. It can't know how your editor likes to work. That's the part of the job to get very good at: • **Checking the machine's work.** Treat AI sync and transcripts like the first pass from a new hire. Spot-check all of it. • **Writing down your standards.** Bin structure, naming, metadata. That's exactly what you'll be telling the software to follow. • **Learning what's already in the box.** If you haven't used ScriptSync and PhraseFind, learn them now. They're the closest thing to this you can use today.