RedShark News

FX Factory - new additions

Published in Post & VFX

It’s fully-featured for $399 or it’s a plug-in environment for free. It works with FCP 7, FCP X, Motion, AfterEffects and PremierePro. It’s a time-saver and a creative tool. It’s FxFactory

Everyone knows about Boris Effects. And, if you're old enough, you'll remember that in the mid to late 90s, it was suddenly possible to create amazing effects and transitions on the slow and clunky NLEs of the time - that looked like they cost a million dollars to produce

There's a big rush towards repurposing Content for 4K

Published in Post & VFX

Think repurposing video content is the same as upscaling it? Think again. We explain the difference and what it means for 4K.

Colour Look Up Tables demystified

Published in Technology & Computing

As digital video cameras get better, and their users become more ambitious, LUTs are used to preserve or manipulate the images. Understanding LUTs is now key to setting up a production workflow

Preparing to shoot RAW

Published in Post & VFX

Peter J. Haas outlines how to go about planning a shoot that utilizes RAW image capture, including a file size comparison between DSLR formats and CinemaDNG , a discussion of shooting ratios and how this translates into storage requirements for a secure post-production environment

How to get info from camera to post

Published in Production

A new VFX industry initiative aims to plug a vital information gap even cinematographers were unaware of

Real time multi-camera operation can give your productions a big speed boost

The art of Motion Tracking

Published in Post & VFX

For most of the history of film, if you wanted to insert something into the picture that didn't exist,  the camera had to be stationary. Motion tracking allows artificial objects to be inserted convincingly into real footage. Phil Rhodes explains

iMac Upgrades are Great for Post

Published in Post & VFX

When Apple quietly updated the iMac with new, speedier Intel Haswell processors and faster PCI-e flash storage, plus 802.11ac WiFi, it was met with little interest. But this speed bump is of great advantage to video editors using Final Cut Pro X, Lightworks, Premiere Pro CC and more

If you've ever shot material on a Canon DSLR and viewed the results in Quicktime on a Mac, chances are you've noticed that things look perhaps a little more contrasty than you'd intended. Phil Rhodes not only looks at why this happens and the means of avoiding it, but maintains that it is a real and genuine technical issue and it shouldn't be ignored.

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