Last year I published a short article when Átomos announced its Spyder monitor calibration system. Now I am privileged to have received one to review. With it, we can quickly and easily calibrate any calibratable Átomos monitor/recorder (i.e. Shogun, Samurai Blade, or Ninja Blade) to Rec 709 color space with a D65 white point (6500 […]
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A few months ago, I put together the ultimate field monitor — for my purposes, anyway. I’m so happy with it that I find myself talking it up to clients, fellow shooters, and now to you, dear Reader. Here’s what makes this monitor — really, this monitor rig — so great in the field: It’s 17.3”, […]
Canon expands its Cinema EOS System with the launch of the EOS C100 Mark II, presented as the starting point for the new generation of cinema EOS cameras. The EOS C100 Mark II is very similar to the original C100, but introduces some new features in this large sensor professional video camera for single operators. […]
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With BBC iPlayer announcing that viewers will be able to watch their favourite shows on-demand for 30 days, rather than the previous maximum of seven, the question on everyone’s mind is what’s next for VOD? Despite being in the relatively early stages of development, today’s connected consumers already expect a TV-like experience from VOD content […]
On October 16, colorist Robbie Carman presented LOG and RAW workflows on the Ask a Video Pro Adobe webinar series. The session was excellent and the participants had lots of great comments and questions. So many questions, in fact, that I asked Robbie if he would be willing to write answers to some of the […]
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How does Final Cut Pro X fit into the visual effects workflow of a feature film? Quite comfortably, as we discover on this week's episode of MacBreak Studio, where I get the opportunity to speak with Mike Matzdorff who was the first assistant editor on a big-budget studio feature film using Final Cut Pro. Mike […]
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You can view Adobe’s panel discussion with the editorial and post-production team behind the movie Gone Girl from director David Fincher. As you may have heard, the Fincher team leveraged Adobe Premiere Pro and After Effects in a workflow based on RED Dragon 6K raw footage files framed in 5K. My elderly neighbor, my dentist and my cleaning […]
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Leading creative software developer, The Foundry, today unveiled NUKE 9, the biggest ever shake up of its NUKE technology, including the brand new addition of NUKE STUDIO. The offering brings powerful node-based VFX, Editorial and Finishing into a new single studio application, as well as provides core upgrades to the advanced compositing workflows of NUKE […]
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You can view Adobe's panel discussion with the editorial and post-production team behind the movie Gone Girl from director David Fincher. As you may have heard, the Fincher team leveraged Adobe Premiere Pro and After Effects in a workflow based on RED Dragon 6K raw footage files framed in 5K. My elderly neighbor, my dentist and my cleaning […]
Read More… from Adobe ‘Gone Girl’ panel: Premiere & After Effects
When fans turn their attention to the large screens at sports’ biggest events, there’s a good chance that they’re watching the work of Van Wagner Big Screen Network Productions (VWBSN). Over the past three decades, Big Screen Network Productions established itself as the… […]
