Redshark's only 10 months old, and our readership is growing all the time. So if you're a new arrival here you'll have missed some great articles from earlier in the year
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.
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.
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
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
We've just found a really excellent video tutorial about Blender's colour correction tools. It's not just a good lesson in colour manipulation: it reminds us what a powerful tool Blender really is
World renowned freelance colorist Warren Eagles shares five top tips that shed light on the dark art of color grading and the life of a colorist. By Matt Aindow.