Many people think that Mocha BCC inside of Avid Media Composer is only for effect roto work. Well, in this tutorial, I’m going to show you a “no so hidden” way to access tracking data to apply to other parameters, like Position, in Lens Flare 3D. […]
Read More… from Let’s Edit with Media Composer – BCC Lens Flare 3D Advanced Techniques
The new program developed by the German company IM&P takes the protection of images online a step further but, says the developer, also helps to fight fake news. It’s another step forward in terms of copyright protection and, according to the company behind the algorithm, a revolution in reverse image research. The new program, announced […]
Read More… from New software aims to fight image theft and… fake news
Presented as a perfect match for Mac users, the TVS-882T Thunderbolt 2 NAS features up to 20Gb/s bandwidth to deliver high-speed file transfers and to boost the 4K video editing. But there are more QNAP solutions to explore. The TVS-882T Thunderbolt 2 NAS is one of the solutions for photographers and videographers on show at […]
I love a challenge, as that’s when I get to do my best work. One of these spots was easy, one was moderately difficult, and one was hard. All turned out perfectly. Before I go any further, take a look at the finished pieces: Each of these three spots has a name. In order, they […]
Read More… from Three Variations on Lighting a Single Shot Commercial
Rick Pearson, ACE has edited some of Hollywood’s biggest movies, including Men in Black II, The Bourne Supremacy, Quantum of Solace and Iron Man II. I last interviewed him when he cut The Accountant. This interview is about Kong: Skull Island, but I caught up with him while he was on-location for his next film. […]
Read More… from ART OF THE CUT with “Kong” editor, Rick Pearson, ACE
With hundreds of careers and opportunities, the filmmaking industry can be a unique experience for a filmmaker. Options include pitching an idea, or a commission through screenwriting, casting, shooting, editing, and screening your project. Filmtools decided to take a deeper look into the world of a Filmmaker. This week, we had the opportunity to speak […]
Read More… from Filmmaker Friday with Filmmaker Michael McQueen
The full set of Cine MacroLuxes will be on-hand for demos at CW Sonderoptic’s NAB booth next April. Utilizing the same signature Leica optics and coatings as the +1, the new Cine MacroLuxes presented by CW Sonderoptic, can be stacked or cut together for consistently beautiful and creative images. The +2, +1 and +0.5 optics […]
FiLMiC Pro (US$14.99) has been the de facto video camera app for mobile filmmaking for awhile. Mostly because of its robust feature set which includes manual control of iris, white balance and focus, as well as a 50 megabit and 100 megabit codec to reduce the amount image compression in video files. Today, FiLMiC Pro 6 hits […]
I love having a big (or big-ish) monitor on set to see what I’m shooting and get excited by it, but the problem with most field monitors is that you can’t see them very well in bright daylight, even if you put a hood around them and set up a sun-blocking floppy overhead. It’s a […]
One of the more interesting features found on the URSA Mini 4.6K and URSA Mini Pro, for me at least, is the 3K Anamorphic setting. This allows a director of photography to shoot 3072 x 2560 4:3 Anamorphic in Raw, Raw 3:1, Raw 4:1 and every flavor of Apple ProRes available in the camera. All you […]
Read More… from Shooting 2x Anamorphic On The Blackmagic URSA Mini 4.6K
