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The home-brew return of anamorphic

Published in Production

Optically stretching images to make a wider aspect ratio is back in a big way thanks to the internet. Adam Hamer investigates.

5 Tips from top Colorist Warren Eagles

Published in Post & VFX

Relationships between DPs and Colorists can often be fraught and full of tensions but, as noted freelance colorist Warren Eagles writes, it really doesn't have to be that way. Here are five things Colorists can do to ease the pain.

While the consumer press zeroed in their attention on the HomePod, the big news from Apple as far as our area of the industry goes was the surprise unveiling of a new $4999 iMac Pro. All this and more from WWDC 2017 in our comprehensive roundup by K Stewart.

The dangers of mission creep in grading

Published in Post & VFX

It starts innocently enough. You are colour grading with a client and the client requests that you drop in a replacement shot, or remove an object from the frame. You have the tools to do these things, so why not? By Mark Sterne.

With the new film, Blade Runner 2046 on the way later this year, Ridley Scott’s original Blade Runner is a rich source of inspiration for many young filmmakers. Recently we highlighted the one-man CGI approach, but here Luka Hrgović and Dino Julius show how they took the optical, in-camera approach with their short, Slice of Life.

Here's how to get a classic film look with the minimum of effort

AWAKE is an impressive enough minute-long slice of dystopian sci-fi, made all the more jaw-dropping when you realise it was done by one man, Phil Grishayev, on no money. Here, he explains how he did it.

How long does it take to colour grade a video?

Published in Post & VFX

A question I am asked all the time because producers are often not quite sure, is: “How long will it take to grade this?”.  By Warren Eagles

I've been travelling with some of the latest tech, including a Macbook Pro with a touchbar and Canon C500 (and now a C700). By Brett Danton

RedShark Review: Brett Danton tried out the new Blackmagic Davinci Resolve grading panels and, within five minutes, was wondering how he had ever lived without them. This does for Resolve what the Wacom tablet did for Photoshop.

Imagineer’s Mocha VR is being used by an increasing number of production houses as 360/VR filmmaking is officially entering the mainstream, so the Imagineer team recently sat down with three early adopters to learn more about their experiences in 360° video production and post.

Fire at Sea: How to grade for documentary

Published in Post & VFX

Colourist Andrea Orsini reveals the ways in which DI can craft nonfiction through his work on Oscar-nominated Fire at Sea.

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