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
If you've ever shot material on a Canon DSLR and viewed the results in Quicktime on a Mac, chances are you've noticed that things look perhaps a little more contrasty than you'd intended. Phil Rhodes not only looks at why this happens and the means of avoiding it, but maintains that it is a real and genuine technical issue and it shouldn't be ignored.
Think repurposing video content is the same as upscaling it? Think again. We explain the difference and what it means for 4K.
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
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
With the acquisition of Eyeon Fusion, Blackmagic is poised to be a major player in VFX and Compositing
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