arri

Updates to Blackmagic Video Assist and DaVinci Resolve

Updates to Blackmagic Video Assist and DaVinci Resolve

Blackmagic announces updates to their Video Assist and to DaVinci Resolve. Some of the updates include h265 encoding and DNxHD recoding…

Location Lighting Tips: Faking the Sun

Location Lighting Tips: Faking the Sun

As a director of photography I often find myself in circumstances that are not always in my control, and yet with issues that I am required to solve. You have…

Location Interview Lighting Tips: HMI Lights & Looking into the Lens

Location Interview Lighting Tips: HMI Lights & Looking into the Lens

I recently shot a series of location interviews that will be used as the narrative backbone for a client’s short documentary project. They scheduled a few days of…

Blackmagic Design’s DaVinci Resolve 12.1 Update Available Now

Blackmagic Design’s DaVinci Resolve 12.1 Update Available Now

Blackmagic Design announces DaVinci Resolve 12.1 update immediately available. I’ll detail the avalanche of new features and updates here…

Blackmagic Video Assist Review

Blackmagic Video Assist Review

With the $459.00 SDI/HDMI Monitor/Recorder does Blackmagic have a hit of a product with the Video Assist on their hands…

LUTCalc: Trials, errors, and a full-range LC709A LUT

LUTCalc: Trials, errors, and a full-range LC709A LUT

After much experimentation, and a bit of failed hacking, I’ve come up with a good full-range Cine-EI LUT for Sony FS7/F5/F55. Read on, and…

Hacking Alexa’s Rec 709 LUT into a Sony FS7/F5/F55

Hacking Alexa’s Rec 709 LUT into a Sony FS7/F5/F55

A new, free app gives us the power to mix and match LUTs—even between cameras! This is what happened when I crammed an Alexa Rec 709 3D LUT into…

Fury Rig: From Mad Max Fury Road to Your DSLR

Fury Rig: From Mad Max Fury Road to Your DSLR

Although many dismiss DSLRs as serious filmmaking tools, producers of movies like Mad Max: Fury Road use DSLRs as part of the production, because they “can really serve a story…

TLCI and Camera Color: What a Difference a Prism Block Makes

TLCI and Camera Color: What a Difference a Prism Block Makes

TLCI’s developer says prism cameras and single sensor cameras respond to color in the same way. Thanks to Panasonic, I can show that’s not the case…

In a Parallel Universe, AJA’s Cion is Amazing

In a Parallel Universe, AJA’s Cion is Amazing

RedShark News lives in a world where the AJA Cion is the best thing since sliced bread. In this world, however, sliced bread is still king. Read on&#8230…

The TLCI Color Rendering Index: Does It Really Work? Color Me Skeptical

The TLCI Color Rendering Index: Does It Really Work? Color Me Skeptical

CRI is meaningless when it comes to measuring LED or fluorescent lights. TLCI hopes to replace CRI in the film industry, but I have my doubts&#8230…

After Effects and Alexa – The Expurgated Version

OK so you’ve got some Arri Alexa footage in Log C format, and it looks funny in After Effects.  You don’t have time to sit…

After Effects and Alexa – Part 2

The Arri Alexa is a hugely popular digital camera, but it records footage in a proprietary Arri colourspace called Log C.  While there are many ways of working with…

After Effects and Alexa – Part 1

The Arri Alexa is a hugely popular digital camera, but it records footage in a proprietary Arri colourspace called Log C.  While there are many ways of working with…