RedShark News

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

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

Here it is: the Future of Colour

Published in Post & VFX

 

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

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.

State of the art colour correction - in 1987!

Published in Post & VFX

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.

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

Here's how to make your films look good

Published in Production

You don't have to rely on digital methods to give a film a distictive "look". Phil Rhodes explains

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

Colour Correction basics - an excellent tutorial video

Published in Post & VFX

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

Blackmagic Davinci Resolve 10: The full rundown

Published in Post & VFX

Here's a full-length, in-depth look at Resolve 10 and the background to its development. RedShark reporter John Burkhart has been talking to Blackmagic about this seminal post production application.

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