RedShark News

With the acquisition of Eyeon Fusion, Blackmagic is poised to be a major player in VFX and Compositing

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

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

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

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

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.

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

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

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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