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Using the ARRI Alexa Mini as a stills camera

Published in Production

Opinion: Using the ARRI Alexa as a stills camera? But it's not even 4K! And yet, it is being used for exactly that purpose. By Adam Hamer

Choosing the best camera for the job

Published in Production

It is vital to determine well in advance of heading to any location — regardless of the pressure of demanding clients or real-world danger — the specific gear I’m going to need to accomplish my mission. And there’s only one effective way to do that: reverse engineering. By Jody Eldred.

Avid Media Composer | First - first impressions

Published in Post & VFX

RedShark Review: So, we know you can now get a cut-down version of Avid Media Composer for free. But is it any good? Arthur Ditner has been driving the full-fat version for a decade and he reckons it is very much worth the download.

The modern rebirth of large format cinematography

Published in Production

Large format cinematography is in high demand in today’s cinema production landscape. In Part One of our look at this growing field, Adam Hamer looks at the sensors and lenses that are powering it.

Out and about with the Blackmagic Video Assist

Published in Production

We’ve reviewed the BlackMagic Video Assist before, but it's always interesting to see how products cope out and about in real world use, especially in atypical environments like the Queensland sun. David Hague reports from Australia.

After a barnstorming WWDC demonstration of iOS11’s transformative potential on iPad, a developer-only beta has been followed up by a public one. K Stewart sees whether the promise of the slickly edited demo bears out in reality.

Six VFX Editing tips to keep your project organised

Published in Post & VFX

Whether it's working with a couple of shots or hundreds, the key to successfully incorporating VFX work into projects lies in ruthless organisation. From naming conventions to working with dailies, Arthur Ditner offers some hard-won advice.

The home-brew return of anamorphic

Published in Production

Optically stretching images to make a wider aspect ratio is back in a big way thanks to the internet. Adam Hamer investigates.

5 Tips from top Colorist Warren Eagles

Published in Post & VFX

Relationships between DPs and Colorists can often be fraught and full of tensions but, as noted freelance colorist Warren Eagles writes, it really doesn't have to be that way. Here are five things Colorists can do to ease the pain.

While the consumer press zeroed in their attention on the HomePod, the big news from Apple as far as our area of the industry goes was the surprise unveiling of a new $4999 iMac Pro. All this and more from WWDC 2017 in our comprehensive roundup by K Stewart.

The dangers of mission creep in grading

Published in Post & VFX

It starts innocently enough. You are colour grading with a client and the client requests that you drop in a replacement shot, or remove an object from the frame. You have the tools to do these things, so why not? By Mark Sterne.

With the new film, Blade Runner 2046 on the way later this year, Ridley Scott’s original Blade Runner is a rich source of inspiration for many young filmmakers. Recently we highlighted the one-man CGI approach, but here Luka Hrgović and Dino Julius show how they took the optical, in-camera approach with their short, Slice of Life.

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