NLEs (Non Linear Editors - computer editing systems) have transformed the creative process since they were first introduced a quarter of a century ago. But how do they actually work?
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
In the final installment of Peter Jackson’s video blog, the director introduces The Hobbit’s post crew, while the team scrambles to complete the film.
Think repurposing video content is the same as upscaling it? Think again. We explain the difference and what it means for 4K.
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
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.
In part 2 of this series, experienced VFX Supervisor HaZ looks at the right and wrong ways to approach studios when you're looking for work
Real time multi-camera operation can give your productions a big speed boost