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.
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
Premier has a built-in colour grading tool that's powerful in itself, but even more so because it's right there within the application
Freelance colourist Warren Eagles looks at how software colour correctors have changed the grading industry; for better and worse
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
(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.
Amid all the recent fuss over 4K, it's easy to get caught up in the enthusiasm over resolution. Shooting a video frame that's the size of a photo taken by a stills camera is no bad thing, of course, but colour and contrast are still the most eye-catching properties on an image. But now we know what the future holds for colour
[Updated] Imposing a "strong" look on a film can take all the original goodness from it. Phil Rhodes wonders whether we can take the concept of "skin tone" seriously any more.