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.
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If you want a dramatic illustration of how much the industry has changed over the past few years, the free version of Avid Media Composer is as good a starting point as any.
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Workflows are right at the centre of modern digital production. No two workflows are the same, but the efficiency of this chain of tasks and actions can seriously affect the success of a production.
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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.
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Do you have a video production business? How can you make it more profitable?
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During our live broadcast on the subject of HDR earlier this year, a viewer asked a question about the difference between and the exact meaning of two terms which are commonly used side-by-side but don't technically have much to do with one another. Here's the explanation.
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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.
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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 Nicole Caetano
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Now, *this* is how to create a TV ident. Radiodiffusion-Télévision Française's original Eurovision logo was mixed in live from a camera pointed at a cat's cradle of string. Phil Rhodes reckons the all-pervasiveness of CGI means we've lost something along the way.
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RedShark Replay: What is the single greatest technical dilemma facing today's DIY filmmaker? Which Camera? Which OS? Which NLE? Which Plug-in? Which Colour Grading Software package? According to Craig Marshall, it’s none of the above. Instead, it’s all about the monitor.
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Timeline-to-text technology is hardly new. But plug-in developer Digital Anarchy is bringing it to Adobe Premiere in an affordable package with tremendous potential for interviews, documentaries and just about any other area where a transcription tied to the timeline would be in order. 
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