Lens dynamic range: coatings, contrast and color
There was a time in the distant past when I thought of lenses as transparent glass. Film and digital...
PVCReview – BCC 2019 from Boris FX
Boris FX has some pretty lofty expectations to reach with this years release of Boris Continuum Complete, now called...
REVIEW – Sapphire 2019 from Boris FX
With the release of Mocha Pro 5 a few weeks ago, the team at Boris FX is still working...
ART OF THE CUT with Oscar-nominated editor, Joe Walker, ACE on “Widows”
Oscar nominated editor Joe Walker, ACE, recently cut the movie Widows for director Steve McQueen. It’s their fourth feature...
Get up and running with Adobe Animate—Flash reborn
Back in the 90’s, Macromedia Flash was the king of web-based animation and it was everywhere. Then in 2010...
Casting the look of a camera into glass
Recently I had the pleasure of meeting with ARRI’s senior color designer, and I asked him the question I...
The simplest interview setup ever: the modern update
Many years ago I wrote about the simplest interview lighting setup ever. Here’s my modern take on that same...
Speed lighting: more lessons from the ARRI Academy
The ARRI Academy isn’t only about learning how cameras work. We also teach how to use them. I’ve never...
ARRI Signature Primes: the conscious design of softness
This is a story about a lens family whose soft focus backgrounds were consciously designed, and the lens mount...
Getting Started with HitFilm Pro – Lesson 8 – Clip-Based Parameters and Keyframing
In our last lesson, in our look at learning HitFilm Pro, we talked about updating HitFilm, and why that’s...