» Posts Tagged ‘post’

Description image

kendricken_celluloid_film_fuji_fujifilm_production_manufacture_cancelWith modern digital cinema cameras, it is often preferable to achieve a look that is more “cinematic” than “digital.” No one factor creates a filmic feel, but the precedent is simple enough — film itself. The emulation of emulsion may depend on anything from lens choice and lighting to grading and grain plug-ins, but there is one sure-fire way to get a true film look: using film. Celluloid acquisition may be beyond the budget of your shoot, but using a “film intermediate” process — that is, transferring color corrected digital footage out to film, then scanning back to digital — could be one technique for splitting the difference. A webinar with VFX artist & colorist Jerome Thelia details just such a process, regarding the Oscar-winning short film Curfew. Read on for details. More »

Description image

Stillmotion Photograph StorytellingChances are that if you’ve ever tried to incorporate still photography into your filmmaking, you’ve most likely used what has become known as the “Ken Burns Effect” wherein you keyframe various properties of the photograph in order to make it appear as if the camera is panning and zooming with the photo. While this is certainly a helpful tool when using photographs in your film, it’s not particularly exciting in a visual sense, and it’s been done so much that the technique itself is somewhat trite. Because of this, using large amounts of photos in a film presents a bit of a creative challenge, a challenge that our friends at Stillmotion encountered and tackled head-on for their recent feature documentary, #standwithme. How’d they do it? Stick with us to find out. More »

Description image

Video thumbnail for vimeo video Watch: Light Iron's Michael Cioni Tours Media Innovations (Including Final Cut Pro X) - nofilmschoolLight Iron is a post-production company that is no stranger to innovation. The company is known for its handling of Fincher’s The Girl with the Dragon Tattoo and its end-to-end 4K production — as well as its on-set hardware and software tools. Given LI’s progressive attitude, it isn’t too surprising that CEO Michael Cioni recently sat down to present a variety of non-Light Iron production tools (with one exception) that he sees as innovations. Cioni hits upon MōVI, the Canon C500, Ki Pro Quad, LI Live Play, and FCPX, all within the context of why and how they are future-ready. To see this innovator’s thoughts on production innovations, check below. More »

Description image

magic lantern raw davinci resolve 006_DR09Not too long ago, I posted about my post process for Magic Lantern RAW video, which relies heavily on Blackmagic Design’s DaVinci Resolve. This is in contrast to some Ginger HDR processes that allow you to stay completely in the Adobe realm, no proxies needed. Many would still like to employ Resolve in their color correction, however, since it’s a very powerful industry standard tool. One significant problem with the Magic Lantern/Resolve proposition was a type of ‘pink fringing’ artifacting that occurred in areas of high contrast. Now Magic Lantern-shooting Resolve users may rejoice: from the looks of things, the newly released(-ish) Davinci Resolve 10 fixes these fringing problems outright. More »

Description image

Video thumbnail for vimeo video Edit Blackmagic CinemaDNG & Magic Lantern RAW Natively in Premiere with GingerHDR Plugin - nofilmschoolI’ve been talking a lot about offline/online workflows lately — how they have, in principle, been used for ages, and still play today, tape or no tape. Such a post production process allows less fortunate folks (such as myself) to work with footage like Blackmagic Camera CinemaDNG and Magic Lantern RAW on hard-pressed machines. But what if your computer can handle the media, and you’re sick of waiting through long post processes for CDNG? Ginger HDR may be the solution for you. The plugin allows native editing of CinemaDNG, and now, even ML .RAW files directly, in Adobe Premiere Pro and After Effects. One user has also devised a work-around for developing CDNG with the powerful Adobe Camera RAW interface, after native Premiere editing. Check it all out below. More »

Description image

offlineIt’s not hard to get precious about pretty much everything in filmmaking. There’s one thing coming off the set, though, that’s more valuable than anything else — the film. It has long been preferable to treat the camera negative like the delicate, precious amalgam that it is by editing a place-holder version in lieu of damaging the original. In some fashion or another, this concept has followed editors through post production for much of filmmaking history. Even in the digital realm, it may sometimes be preferable to edit “offline” before conforming to “online” for striking the “master print.” Read a bit more into the fundamentals of the offline/online below. More »

Description image

Blackmagic DaVinci ResolveNowadays, we equate ‘DaVinci’ with the powerful color correction software Resolve. It can be easy to forget DaVinci’s hardware-based origins, just as it can be easy to forget Media Composer’s origins as the dedicated machine editors used to call “The Avid.” Even in their software forms, these systems retain media matching abilities that were vital in the stand-alone NLE days — control of metadata. Resolve is no exception, even though we think of it primarily, even exclusively, as a grading tool. Scott Freeman, online editor of the USA series Suits and Covert Affairs, has recently taken the time to illustrate Resolve’s muscular metadata abilities. His workflow reminds us that such abilities are still quite useful today – when teaming up with Avid and otherwise. More »

Description image

Video thumbnail for vimeo video Meet the Hunter-LUT, a Beautiful Alexa-Like Look for 5D Mk III CinemaDNGs (Plus RAW Workflow Tutorial!) - nofilmschoolSuffice it to say some lucky, happy campers here at NFS have recently (finally) gotten their hands on a refurbished Canon 5D Mark III. Substances will surely flow in the not-too-distant future — and by substances I think I mean “footage.” We recently came across an overall-helpful 5D3 RAW DaVinci Resolve workflow tutorial from DP Hunter Hampton Richards, which we have found very helpful in our early experiences. Hunter has devised his own custom LUT to Alexa-ify your 5D CinemaDNG RAW footage, emulating that camera’s Rec. 709 output. Hunter also digs Purity Ring, so you’ll definitely want to check this out. More »

Description image

videopixie freelance video editing motion graphics 2Unfortunately enough, I’m sure many of us have been there: sitting on what seems like a mountain of raw footage, the beginnings of a project that grows in scope, intimidation, and horror every day you continue putting it off. In such circumstances, you may have found yourself longing for a fast and easy way to scope out the reels of freelance editors, who could sculpt that mountain into the final cut you’d been wanting all along — and maybe even set your price range. Thanks to the services Viedit and Videopixie, these scenarios are now realities. Each offers a variation on a ‘marketplace of editors,’ both focusing on speed, modest pricing, and ease. More »

Description image

Video thumbnail for vimeo video Audio101 - What is a Submix - nofilmschoolJust as digital imagery can be manipulated in post with a number of approaches — combinations of which may be used to achieve pretty much the same effect — working with audio is a malleable exercise. It’s become even more malleable recently thanks to innovative sound manipulation interfaces which provide a powerful palette for painting, re-painting, and un-painting sound. That said, some tenets of the basic audio interface design haven’t changed much in decades. One such basic is the submix. Check out a great demonstration of the undiminished usefulness — and power — of ‘subs’ below. More »

Description image

light iron michael cioni post production color correction grading dit digital imaging technician lily pad outpost todailies app film filmmakingA few weeks ago, I was fortunate enough to attend the grand opening of Light Iron’s New York facility. I met very nice, dedicated, hard-working (and patient!) people there, and got a chance to hear words from Michael Cioni, the post company’s CEO. I also got a chance to scratch the surface of some of Light Iron’s infrastructure — including its LILY PAD DIT station — which aims to empower the on-set technician, and crew as a whole, with a seamless media experience. In addition to the hardware, this experience is supercharged by the likes of Light Iron’s custom Todailies app, which will receive an upcoming upgrade as well. More »

Description image

waveform monitor histogram after effects adobeDepending on the acquisition system, waveform monitors and vectorscopes can guide quality control of your imagery from shooting all the way down the pipeline to grading, mastering, and compression for delivery. Scopes can seem a little intimidating and esoteric to the new user, but getting the basics down can really help in owning your image. Recently, Alexis Van Hurkman over at ProVideo Coalition has answered some key questions about scopes: find out which ones he considers the most indispensable below, plus when it may be a good idea to trust your own pair of eyes in making adjustments — even when your scopes are reading ‘A-Okay.’ More »

Description image

We’ve seen a few apps capable of controlling different programs on your computer with an iPad. A recent app that caught our eye, ProCutX, is capable of controlling Final Cut Pro X with your iPad, and replacing many of the functions normally done with a keyboard. For a limited time (possible only a few more hours), the full app, which is normally around $25, is now free on iTunes. Click through for a video walk-through of ProCutX. More »

Description image

The keyboard can certainly be a powerful and efficient control surface for non-linear editing, especially with the mastery of hot-keys and short-cuts. Despite this, some editors desire a more visually intuitive way of interfacing with their NLE. There are those that prefer specialized color-coded editing keyboards or keyboard covers, while others swear by their tactile controllers. Those can go for around $80, but what about using an infinitely configurable iPad to take the place of one of these consoles? We’ve already seen one iOS app capable of controlling a wide range of video software, but with a new iPad app called ProCutX, Apple editors have yet another way to turn their tablet into a Final Cut Pro X console. Check out some images and details below. More »

Description image

Is it possible we’re losing something through the non-destructive way in which we decide the final look of our shots? The answer, quaintly enough, is absolutely yes — but what, exactly? Simplicity. True finesse in color timing is something Dale Grahn (Saving Private Ryan, Gladiator, Munich, Apocalypse Now: Redux) knows a lot about, and in a true chemical timing sense — which says a lot about the power of bold and minimal control over imagery. Lucky for any of us looking to learn from the experience, Mr. Grahn is asking you to match his own color grades by way of a new iPad app — and in the process interact with the very essentials of color grading. More »

Description image

The media management and quality control handled by the digital imaging technician and post house is nearly universally vital in modern filmmaking, where each digital camera brings its own varying formats, workflows, and quirks. This need for DITs and post houses, however, may evaporate just as quickly as it has arisen — at least according to the predictions of Michael Cioni. As the CEO of post house Light Iron, he has helped pioneer RED workflows at the highest level of filmmaking, so his word is not to be taken lightly — particularly since he’s predicting the end of what his and any other post house does as we know it by 2017. Furthermore, what cameras (and therefore camera teams) will have to take care of themselves is staggering, especially taking a look at the duties fulfilled by today’s high-end DIT carts — including those assembled by Light Iron itself. More »

Description image

Unless you’ve completely ignored any and all exposure to mainstream media over the past five to ten years — particularly television and cinema — you’ve probably heard of Bad Robot. With productions like Mission Impossible: Ghost Protocol, Lost, Alias, and Cloverfield, there’s no doubt they exert major force on both popular culture and blockbuster art. All of which makes it very exciting to report that the next Avid Pro Video Webinar will feature none other than the post team of Bad Robot themselves, bringing you behind the scenes of their processes and workflows — and from the looks of things, specifically regarding CEO J.J. Abrams’ upcoming Star Trek Into Darkness. More »

Description image

As part of today’s free Adobe workshop on HDSLR feature film workflows (I’ll update that post with a link to the archived presentation), one of the commenters brought to my attention a promising DSLR post-production plugin called 5DtoRGB.1 I’ve called DSLR color-correction on a Mac a clustercuss, not just because of the 4:2:0 color space, but because of Quicktime gamma inconsistencies (often related to YUV to RGB conversion). Rarevision’s 5DtoRGB plugin, currently in beta, just might be the solution to these problems. More »

  1. Sorry, whoever it was who commented about 5DtoRGB — I lost the chat thread when my Flash plugin crashed for the dozenth time. []