RedShark News

Another great article from the vast RedShark Archive. Just in case you didn't see it first time around: "...it's perhaps surprising that the Super-8 film format is still – in what we might have expected to be the twilight of its years – quite popular. The popularity of retro-styled web imaging services like Instagram is another instance of what I suspect may be the same trend, and goes some way toward confirming the suspicion that distressed images are now just as fashionable as distressed jeans"

Here's another chance to read our review of the amazing Film Convert. (Note that this was first published in November 2013). Even in a world dominated by pixels and the "new aesthetic" there are a number of us who still love the seemingly undefinable look of celluloid film. Now, you can match it with digital video, very closely. In a major new review of Film Convert, Peter Haas shows how

How to understand Dynamic Range

Published in Technology & Computing

Camera performance is now measured as much in terms of Dynamic Range as Resolution. Phil Rhodes explains this essential aspect of camera technology

 If you live in the US and want to see a Paramount movie on 35mm, you're going to have to go and watch Anchorman 2. Well, it is described as “nearly as funny as its predecessor” on Rotten Tomatoes

Film vs Digital: here's the reality.

Published in Technology & Computing

We're drilling down to the essence of the difference between analogue and digital. Here's Phil Rhodes' take on this persistent question. It's a fascinating read, and is pretty definitive on the subject

VFX goes international

Published in Post & VFX

HaZ looks at the trend for post production and VFX to be moved overseas and asks the question: what does this mean to new and existing visual effects artists?

(This was an incredibly popular article when we ran it originally this year. In case you missed it, here's another chance to read it). It just won’t go away, will it? However much you can prove with specifications that digital video is indisputably better than film, there’s a stubborn feeling that there’s more to it than the simple-to-prove facts. We think we've identified one, subtle, process that helps film to store more visible information than digital.

Guest author Pavan Deep tells us why he prefers to shoot film, even when editing and finishing digitally. 

Can film in the UK make a comeback? Cinelabs International certainly seem to think so, as they have just acquired Bucks Media Services which is one of the few small film labs left in the UK

 Digital video can now demonstrably beat film in every way. So why do we keep comparing the two?

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