RedShark News

This is how to make a showreel

Published in Post & VFX

This is how to make a showreel. You have just a few minutes to grab people's attention. This is your calling card

Color grading in black and white

Published in Post & VFX

Tim Burton’s stop-motion Frankenweenie calls for black and white grading

Colour grading breakdown

Published in Post & VFX

Colour grading has moved into the mainstream of video production, and we're always thirsty for advice about how get the job done convincingly - hopefully adding value to the finished work

This holiday we're re-running some of our most popular articles, in case you didn't see them the first time. Today: You don't have to rely on digital methods to give a film a distictive "look". Phil Rhodes explains.

Here's how to make your films look good

Published in Production

You don't have to rely on digital methods to give a film a distictive "look". Phil Rhodes explains

What colour is night?

Published in Post & VFX

What colour is night? This simple question leads to some deeper questions about colour in film making

Redshark's only 10 months old, and our readership is growing all the time. So if you're a new arrival here you'll have missed some great articles from earlier in the year

Larry Jordan is a well known video industry figure, whose webcasts are listened to in 175 countries. We asked him about editing, color correction, the cloud, and whether he's looking forward to April's NAB - the biggest show of the year

State of the art colour correction - in 1987!

Published in Post & VFX

I'm no fashion guru, but I do remember that in 1987 women wore shoulder pads the size of a small country and men rolled up their jacket sleeves as if it was almost an anatomical necessity. And I spent hours trying to recreate Jan Hammer's synthesised guitar sound from the Miami Vice theme on my Korg keyboard.

Colour Correction basics - an excellent tutorial video

Published in Post & VFX

How often do people really take the time to explain the real basics? With stuff like colour correction, while you can and should rely on your eyes and a good, colour-calibrated monitoring system, you also need to make sure that your graded output is technically OK, or it might be rejected by your client

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