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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.

Here's how to get a classic film look with the minimum of effort

AWAKE is an impressive enough minute-long slice of dystopian sci-fi, made all the more jaw-dropping when you realise it was done by one man, Phil Grishayev, on no money. Here, he explains how he did it.

How long does it take to colour grade a video?

Published in Post & VFX

A question I am asked all the time because producers are often not quite sure, is: “How long will it take to grade this?”.  By Warren Eagles

I've been travelling with some of the latest tech, including a Macbook Pro with a touchbar and Canon C500 (and now a C700). By Brett Danton

RedShark Review: Brett Danton tried out the new Blackmagic Davinci Resolve grading panels and, within five minutes, was wondering how he had ever lived without them. This does for Resolve what the Wacom tablet did for Photoshop.

Imagineer’s Mocha VR is being used by an increasing number of production houses as 360/VR filmmaking is officially entering the mainstream, so the Imagineer team recently sat down with three early adopters to learn more about their experiences in 360° video production and post.

Fire at Sea: How to grade for documentary

Published in Post & VFX

Colourist Andrea Orsini reveals the ways in which DI can craft nonfiction through his work on Oscar-nominated Fire at Sea.

The new Canon EOS C700 impresses in the field

Published in Production

Brett Danton shot the highly-regarded C300 Mark II launch film in Greece which won an ACS award for cinematography. His current project ramps things up yet further and involves one of the first uses in anger of the new $28,000 Canon EOS C700. Initial feedback is very positive.

Why FCPX 10.3 is the NLE of the future

Published in Post & VFX

Opinion: Final Cut Pro X might have driven swarms of editors into the arms of Apple’s rivals, but with FCPX 10.3 Apple finally delivered on the promise of the software and, if you edit, you owe it to yourself to leave your preconceptions at the door and check it out. By Khaled Spiewak.

About that CGI Peter Cushing in Star Wars: Rogue One...

Published in Post & VFX

The most recent cinematic foray into the Star Wars universe resurrects Peter Cushing's Tarkin from the original films, but did the computer generated version of the beloved actor span the dreaded Uncanny Valley? By Joe Foster.

Director's Notes: STUCK, made with Blender on a laptop

Published in Production

A self-professed 'Blender 3D addict' of more than ten years chronicles his experience with the program while making his short STUCK. By Bernard Egreteau.

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