Colour Correction basics - an excellent tutorial video

Published in Post & VFX

Replay: 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

Here's how to make your films look good

Published in Production

RedShark Replay: You don't have to rely on digital methods to give a film a distictive "look". Phil Rhodes explains (first published June 2013).

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.

Color in TV dramas has never been more sophisticated

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

Processing colour with analogue eyes

Published in Post & VFX

Here's something different: An iPad app that teaches colour correction the way it used to be done with analogue film

Digital makes everything faster, right?

Published in Technology & Computing

Where did all the time go?

Color grading in black and white

Published in Post & VFX

Tim Burton’s stop-motion Frankenweenie calls for black and white grading

A major part of this film's success is surely its glorious use of 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.

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