This holiday we're re-running some of our most popular articles, in case you didn't see them the first time. Today: You don't have to rely on digital methods to give a film a distictive "look". Phil Rhodes explains.
As usual in the Winter season, we're re-running some of our most popular articles, in case you didn't see them the first time
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.
(This is a second chance to see this lovely retro look at DaVinci.) I'm no fashion guru, but I do remember that in 1987 women wore shoulder pads the size of a small country and men rolled up their jacket sleeves as if it was almost an anatomical necessity. And I spent hours trying to recreate Jan Hammer's synthesised guitar sound from the Miami Vice theme on my Korg keyboard.
Larry Jordan is a well known video industry figure, whose webcasts are listened to in 175 countries. We asked him about editing, color correction, the cloud, and whether he's looking forward to April's NAB - the biggest show of the year
How often do people really take the time to explain the real basics? With stuff like colour correction, while you can and should rely on your eyes and a good, colour-calibrated monitoring system, you also need to make sure that your graded output is technically OK, or it might be rejected by your client
Freelance colourist Warren Eagles looks at how software colour correctors have changed the grading industry; for better and worse