In the third and final part of Red Shark Technical Editor, Phil Rhodes' examination of the complexities of the Academy Color Encoding System (ACES), we look at how it's working out in the real world.

Good taste by committee equals bland taste by committee

Published in Production

Often, creative decisions made by groups tend to be conservative, limiting the opportunity for brave choices. The result, whether you're a DoP or a screenwriter, tends towards the bland.

Magic Bullet Looks - RedShark Review including video

Published in Post & VFX

In the first of a two-part series, RedShark News Contributor Kevin Luiz explores the current incarnation of Red Giant's popular Magic Bullet Looks, the colour-grading centerpiece of the Magic Bullet Suite.

The dangers of overcooking the grade

Published in Post & VFX

Simon Wyndham argues that when grading, especially to an extreme, one should consider whether the grade will enhance or detract from the overall viewer experience.

Reliable and affordable studio backlighting

Published in Post & VFX

Flanders Scientific has released a budget-friendly option for lighting your colour grading suite.

How do we measure the largely intangible quality about a given device that somehow makes the pictures from Camera A look better than the ones from Camera B?

After close to three months developing and testing, Blackmagic has brought the latest version of its popular editing and colour grading suite, DaVinci Resolve 12.5, out of beta. This, you feel, is an essential upgrade.

At the FCP Exchange workshops held in Las Vegas during NAB 2016, Denver Riddle of Color Grading Central previewed some upcoming updates to Color Finale for FCP X.

Here are assets and tools that will greatly enhance your video editing workflow.

In our continuing feature, Red Shark Technical Editor, Phil Rhodes, delves into the complexities of the Academy Color Encoding System (ACES). Part Two looks at how the system works.

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