Hands-on with NiSi’s Aureus T1.4 Primes: Character-Driven, Large-Format Lenses
You’ve probably heard of NiSi’s wildly popular Athena primes, a full-frame cine lens set that became a runaway hit...
Data rate for shooters and editors
New shooters and editors can often get hung up on which codec and data rate they should use, and...
Great PR persuades world Pinocchio is real.
Some actors work for years to achieve any sort of success, but one putative thespian who has been doing...
After Effects Guru Meditation 1: Reverse Tracking for VFX
I’ve been using After Effects for nearly 30 years, and over that time I’ve worked on a wide range...
NIKON Z 8 gets enhanced pixel-shift shooting function and more
The new firmware for the Nikon Z 8 adds additional support for pixel-shift shooting, flexible color picture control and...
Tool Tip Tuesday for Adobe Premiere Pro: Three Compression tips for Premiere Pro
Welcome to Tool Tip Tuesday for Adobe Premiere Pro on ProVideo Coalition Most of this, you probably shouldn’t use 2-pass encoding,...
Tool Tip Tuesday for Adobe Premiere Pro: Don’t Bury Projects
Welcome to Tool Tip Tuesday for Adobe Premiere Pro on ProVideoCoalition. Every week, we will share a new tooltip...
Bringing Australians to Kansas: How The Burghart Brothers’ Made “Head Count”
In the heartland of Kansas, far from Hollywood’s sprawling studios, Jacob and Ben Burghart crafted their debut feature film,...
Director Edoardo Vitaletti on “The Last Thing Mary Saw” | My First Film
In Episode 5 of “My First Film,” host Alec C. Cohen interviews Italian filmmaker Edoardo Vitaletti about the challenges...
Understanding Aputure’s Storm LED line and BLAIR Color Engine
In the world of filmmaking, lighting is a critical aspect that can make or break a scene. While there...
