How to colour correct on unsuitable monitors

Published in Production

The Art of Coarse Monitoring: All about monitoring -  when you absolutely should and when you may be able to get away with less-than-ideal options.

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

Colour correction in Blender: an excellent tutorial

Published in Post & VFX

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

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

With digital, file-based production, your experience on-set during productions is a potential minefield. Throw a complicated raw workflow into the equation, and you need help. That's the reasoning behind Magic Bullet's BulletProof

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

[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.

Colour Grading in the Bedroom

Published in Post & VFX

Software-only colour grading systems have transformed the look of the colour landscape. But not if you want a hardware control surface or top-level manufacturer support. Andy Stout explains.

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).

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.

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