RedShark News

Just in case you missed it first time round, here's a fantastic article revealing five tips from World renowned freelance colorist Warren Eagles, who shares five top tips that shed light on the dark art of color grading and the life of a colorist. By Matt Aindow.

Freelance colourist Warren Eagles looks at how software colour correctors have changed the grading industry; for better and worse

Predicting color under lighting just got a lot easier

Published in Production

First released at NAB earlier this year, the Academy Color Predictor for iOS 7 aims to let you predict and preview the color rendering capabilities of digital cameras under different lighting setups.

Using Resolve with the Blackmagic Cinema Camera

Published in Post & VFX

Blackmagic have just released a firmware update for the Cinema Camera which together with the latest version of Resolve bring a few changes to the workflow

Processing colour with analogue eyes

Published in Post & VFX

Here's something different: An iPad app that teaches colour correction the way it used to be done with analogue film

Nvidia GeForce GTX 980 tested with Resolve

Published in Post & VFX

Red Shark Technical Editor, Phil Rhodes, puts Nvidia's latest and greatest GPU through its paces, giving them a strenous colour correcting workout with Resolve and hardly booting up Elite: Dangerous at all.

Colour Grading in the Bedroom

Published in Post & VFX

Software-only colour grading systems have transformed the look of the colour landscape. But not if you want a hardware control surface or top-level manufacturer support. Andy Stout explains.

Colour Correction Overload?

Published in Post & VFX

We love colour grading. The way you can transform mundane-looking footage and turn it into something rich and compelling is magical

Color grading in black and white

Published in Post & VFX

Tim Burton’s stop-motion Frankenweenie calls for black and white grading

What colour is night?

Published in Post & VFX

What colour is night? This simple question leads to some deeper questions about colour in film making

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