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Today Apple announced a number of new products including updates to their iPad lineup, a new Mac Mini, and a brand new iMac – which may be one of the best 4K editing systems you can get your hands on. The MacPro is undeniably still going to be a faster computer, but for the majority […]Read more →
A while ago I posted an article about FCP X getting it’s big break on an unknown $100MM Hollywood feature film, and in the past week details have finally emerged that the film in question is Will Smith’s upcoming feature “Focus”. This is of course coming after the news that David Fincher’s “Gone Girl” was cut […]Read more →
One of the biggest reasons that high end cinema cameras are so preferable to shoot on over DSLRs or other prosumer cameras, is because of the flexibility that they have in post. Cameras like the Arri Alexa, Sony F55, and RED Epic/Dragon all feature raw recording to allow for maximum creative freedom when color grading. Ironically […]Read more →
I’ve always been really picky when it comes to compressing my video files (especially for web), because the image quality of the final product can be made or broken at this stage. There have been certain settings that have worked really well for me over the years with regards to H.264 compression, but it wasn’t […]Read more →
UPDATE: “The Mechanic” just got through round 1 of Project Greenlight and is now in the running! Wish me luck…. A few days ago I wrote an article on why I chose to shoot my latest short film on the C100, while I own and have access to many other cameras (including RED EPIC and […]Read more →
As many of you already know, Red Giant Universe is an exceptionally powerful post-production platform that allows for a seamless integration of plugins, transitions, and effects into your NLE. Even if you haven’t already used Universe, you are likely familiar with Red Giant’s other products (such as Magic Bullet Looks, Colorista, and Toon it) – […]Read more →
One of the most important features that many of us look for when buying a camera is undoubtably variable frame rates, specifically 60p. We want to be able to capture slow motion and the only way to properly get it is to over crank – which means shooting more frames than you need so that […]Read more →
Creative minded people aren’t always known for their organizational skills. The desktop on the average filmmakers computer often looks more like a college dorm room than a 5-star hotel, and I can say personally I have been guilty of poor organization in my earlier years as a filmmaker. I’ve learned over the years though, that […]Read more →
The largely controversial Final Cut Pro X may have just got the break that it needed so badly when news emerged a few days ago revealing FCP X is being used to edit a $100M upcoming studio feature. Although over the past year the controversy surrounding FCP X has largely died down as the software […]Read more →
Probably the most effective way to add production value to your project during post, is to apply a really nice color grade to your footage. Color correction and grading can completely transform the look of your video, fix problem areas, and make otherwise dreary shots look amazing. One of the most common looks in cinema […]Read more →
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