I’m a fan of People’s Court with Judge Marilyn Milian, and she often says that when you enter into a business deal, you’ve got to have a written agreement – even if you have to write it on a piece of toilet paper with a crayon. When it comes to my Miami Based Video Production […]
Read More… from Why Contracts are Necessary for Video Production Companies
Does large format really create a greater sense of depth and dimensionality in a flat image? Read on to find out… If you haven’t yet read part 1 of this series, you can find it here. MAGNIFICATION: REALITY’S NEW BEST FRIEND UPDATE: I’ve removed the example images from this story as they have been […]
Read More… from Panavision revives VistaVision for a digital world: part 2
The mid-20th century epic movie experience is returning to a screen near you— at your local cineplex, in your home, and possibly even on your phone. A few years ago, while on a tech scout, I shot a stunning reference photo with a Canon 5D Mk2. Something just felt different: it had a sense of […]
Read More… from Panavision revives VistaVision for a digital world: part 1
Continuing with still-useful movies from our old “Insight Into Effects” course, this one explains why you shouldn’t reach for the standard Tint effect when you want to colorize footage, and instead should use some form of Tritone effect: your black and white points will be preserved, resulting in a richer image with greater contrast: https://youtu.be/D7p_dnISsmA […]
The convenience of a soft case with the protection a hard case offers is how Think Tank Photo presents it’s new largest solution for carrying big tripods, up to 40” in height. A good video shot is only as steady as the tripod your camera is sitting on, so it makes sense to protect it […]
Read More… from Video Tripod Manager 44: a rolling case for cinema tripods
RED’s cinematic full frame WEAPON cameras with the MONSTRO 8K VV sensor is available for purchase. Discover the different packages and the performance of the new sensor. MONSTRO is an evolutionary step in large-format sensor technology, with improvements in image quality including dynamic range and shadow detail. RED’s newest camera and sensor combination, WEAPON 8K […]
The first SMPTE ST 2110 standards aim to simplify the use of internet protocol (IP) networks in real-time for the purposes of live production, playout, and other professional media applications. SMPTE, the organization whose standards work has supported a century of advances in entertainment technology and whose membership spans the globe, announced the publication of […]
Whether it’s Quentin Tarantino shooting “Hateful Eight” in 65mm, the Panavision Millenium DXL, RED’s VV sensors, the Arri Alexa 65, or the new Sony Venice, large format cinematography is being touted as the Next Big Thing (pun intended). Large format—from full-frame 36 x 24mm to RED/DXL’s 40.96 x 21.60mm, Arri’s 54.12 x 25.58 mm, and beyond—is […]
I’m the first one to admit that I’m a fan of HitFilm. For me, it’s like the Little Engine That Could. The HitFilm team have put themselves in a very interesting place. They are essentially taking on both Adobe and BlackMagic design, by attempting to give editors and compositors an alternative to doing their editing […]
Art of the Cut last spoke to editor Sidney Wolinsky, ACE, in 2015 about his work on House of Cards and The Sopranos, among other things. We circled back to talk to him again about his collaboration with director Guillermo del Toro on the enchanting and gorgeous feature film The Shape of Water. Wolinsky has […]
Read More… from ART OF THE CUT with Sidney Wolinsky, ACE on “Shape of Water”
