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.
Master Colorist David Cole took some time out of his busy day at FotoKem to sit down and talk with us about the color of Dune. Part of this interview was featured in The Look of Dune, which we highly recommend if you’re curious about how Denis Villeneuve and his team pulled off their daring […]
This free recorded webinar from Shane Hurlbut, ASC and Michael Cioni reveal the secrets to maintaining your relationship with how your movie looks from concept to delivery, lens test to final product.
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.
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.
5′ 4″ Megan Pham is working in Los Angeles for Shane Hurlbut, ASC, climbing up and down a 15 foot ladder, taking down Lekos rigged on the ceiling.
A breakdown of Alex Buono’s new show to help give some insight for those who haven’t heard about it yet, or are considering attending.
How I go about understanding the exposure of a digital sensor, specifically with the Canon Cinema EOS Platform – finding its soul, its breaking point, as well as its deep and dark secrets that you cannot find in a Canon manual.
Understand the RED Dragon’s breaking point with ISOs, IREs and Latitude. Know when to use the Skin Tone OLPF or the Low Light OLPF and as many myths that an artist can uncover will be revealed!
Part 3 will show you the look and feel of the Olympus series of micro four third lenses on the GH4.
The master builds a camera design with forethought. They make it future proof; they think out of the box, providing a size that can intensify creativity and a workflow that doesn’t require terabytes of storage. The Dragon sensor has done this for the Epic. There is another camera that takes all that I just talked about and makes it even better. Your WEAPON of choice will be just that – the RED WEAPON, revealed at NAB. It is my camera of choice for my next project
When I first started out as a colorist assistant, I thought the colorist’s job was primarily to set unique and interesting “looks” for music videos, commercials and feature films. Yes, that is certainly a major component, but once I began to sit in the colorist’s chair, I quickly realized there was so much more to it than that!
Shane’s suggested menu settings for using the Canon 1DC as a cinematic movie maker.
Color correction is just one step of the entire filmmaking process…but oh, what a difference it can make. You can […]
My last blog post was about story and not getting caught up in all the tech/gear frenzy. Now, I want to talk about […]
When I was doing a Canon 5D film test in January of 2010, I put eight 5D’s in a line for this cool action camera array.
When I began working on “Act of Valor” I was using an Asus 17” monitor to light with. When I got into the color correction bay, I noticed that I had over-lit scenes because the monitor was not seeing what the camera was ultimately seeing.
My first experience with the 5D DI color correction was for the Terminator Webisodes produced by the Bandito Brothers through Wonderland Sound and Vision. McG asked me to be the Director/Cameraman for these alternative marketing shorts that were going on the Internet.
Born in Los Angeles, CA.
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