RedShark News

VFX news from Europe's IBC

Published in Post

Red-shark's VFX columnist, HaZ, reports on Visual Effects developments at Amsteram's IBC this year.

Here are some fascinating things that we learned from our sessions at London's Broadcast Video Expo

The History of VFX Part Two: The Model Men

Published in Technology

From World War II to the 1980s, the model men and the optical effects units held sway in the world of movie VFX. Computers were on the way, but first the world's effects teams had to deal with the little problem of colour. By Andy Stout.

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

Dwarf Labs: Montpellier's VFX innovators

Published in Post

Redshark’s VFX Reporter HaZ takes a trip to Montpelier to visit Dwarf Labs: a CGI animation studio in Montpellier, just off the French Mediterranean seashore. Dwarf’s ambition is to create world-class computer-generated imagery that appeals to audiences of all ages.

The Great Gatsby: Stunning VFX/CGI breakdown

Published in Post

You really can't believe what you see these days. And that's even more true for historically-set dramas where to recreate authentic 360 degree retro environments would be so expensive as to severly limit the scope of the productions

How do you make a comic book superhero film set in New York? The answer is that you don't make it in New York. Instead, you shoot it in a green-screen studio in New Mexico

Drag and drop effects you can use with anything

Published in Post

Did you know you can get really classy effects that you simply drag and drop onto your timeline without using plugins?

The art of Motion Tracking

Published in Post

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

Adding intentional damage to your video

Published in Post

Have you ever thought about the close connection between electric guitars and modern post production techniques? It's just possible that you haven't. After all, resemblance between a Marshall amplifier and DaVinci colour grading console is minimal, to say the least

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