RedShark News

Preparing to shoot RAW

Published in Post

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

FX Factory - new additions

Published in Post

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

iMac Upgrades are Great for Post

Published in Post

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

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

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.

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

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

Sony Pictures opens 4K post production facility

Published in Post

True to its overarching philosophy of providing an end-to-end 4K ecosystem, Sony is about to launch a 4K television post production unit in the Capra Building at Sony Pictures in Culver City, according to The Hollywood Reporter

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

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