Dale Campbell and Still Moving Media turn their attention to Lighting Effects for Davinci Resolve.
Dale Campbell and Still Moving Media are now focusing on Tracking FX for Davinci Resolve.
Dale Campbell and Still Moving Media return with Part 3 of their Doing It All In Davinci series. This time they’re looking at Patch Replacement and Tracking.
Dale Campbell and his team at Still Moving Media are back with the second part of their Doing It All In Davinci series and today they’re looking at Blackmagic Raw and Color Temperature.
Dale Campbell and Still Moving Media’s Doing It All In Davinci 6 part editing tutorial. Dale focuses on editing, color grading and a little bit on sound design using a video that his team filmed for the launch of Aston Martin’s latest car.
The history of the film format in filmmaking, it’s importance in how we make films, why we should keep film alive, and where we cinematography is going with this medium.
Creating and baking in a unique LOOK with 3D LUTs. Why, how to use in DaVinci Resolve, and how to install and use LUTs on set.
Creating and baking in a unique LOOK with 3D LUTs. Why, how to use in DaVinci Resolve, and how to install and use LUTs on set.
Creating and baking in a unique LOOK with 3D LUTs. Why, how to use in DaVinci Resolve, and how to install and use LUTs on set.
Creating and baking in a unique LOOK with 3D LUTs. Why, how to use in DaVinci Resolve, and how to install and use LUTs on set.
How are you transferring your footage from your camera to your drives? Do you plug the card into the reader, double click the icon on your desktop then just click, drag, and drop the folder onto a drive to copy your footage?
One of the comments I hear all too often is, “4K is too sharp, it’s too much resolution.” Well, here’s the thing… resolution and sharpness are not a 1:1. Instead of thinking of higher resolution images as “sharper,” try thinking of them as smoother.
Our members are what make Shane’s Inner Circle such an incredible filmmaking community. We want to celebrate their stories with this Spotlight Series. Today we are featuring Luca Ricci from Italy who shares his story of his first time on a feature set. Enjoy!
I want to show the comparisons of what most people would do with a Mac Pro in maxing it out, seeing the cost and then seeing what a nearly maxed out HP would be, for the same price point. The idea is that you wouldn’t have to max out an HP to get the performance you are looking for and you will be able to save a lot of money in doing so.
I will take the URSA Mini to its breaking point and show you what it can do so you can make informed creative decisions in your storytelling.
I’m going to give you ideas of where to start with your projects and how to create that look that you will capture in camera. This is so much more than any sort of “preserving the look” conversation or having anything to do with post-production. This is the foundation of the look, painting with light and your camera.
The ability to think quickly on your feet in a live broadcast environment is a direct connection to being on set and shooting talent or capturing a storyline. You have the luxury of getting it a second time or third time; very rarely do you do one take and move on. In live sports, you get one take, the only take.
We’re going to walk through how we built our Direct Network Storage Solution system here at Hurlbut Visuals.
How we built a direct network storage solution foundation and base to work with, which is so incredibly important and crucial to your future growth in post-production.
I thought it would be really cool to take you through car mounts, and we are going to Need for Speed my Lexus with some really cool and innovative car mounts from Matthews.
What is Infrared Pollution? How do you combat it? We have the answers for you.
Join our community to take advantage of personal insights, techniques, and skills from Hollywood professionals. They put in the time and effort so you don’t have to!
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