RedShark News

FX Factory - new additions

Published in Post & VFX

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

Colour Look Up Tables demystified

Published in Technology & Computing

As digital video cameras get better, and their users become more ambitious, LUTs are used to preserve or manipulate the images. Understanding LUTs is now key to setting up a production workflow

How To Edit - a recap

Published in Post & VFX

Peter Haas' recent "How to Edit" series has been extremely popular, but we omitted a link to the final part, which means that many of you missed it. All the correct links are given below

Adding intentional damage to your video

Published in Post & VFX

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

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

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

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

Sony Pictures opens 4K post production facility

Published in Post & VFX

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

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

The art of Motion Tracking

Published in Post & VFX

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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