» Posts Tagged ‘postproduction’

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last-passenger_1The internet is rife with “making-of” videos for just about every major feature film that gets released these days. Unfortunately, a good portion of these videos don’t really show us anything in regards to the filmmaking process. More often than not they’re just behind the scenes interviews with the actors cut together with some poorly shot b-roll. On occasion, however, a video (or series of videos) comes along that shows us the nitty-gritty of the filmmaking process and provides a realistic sense of how films are really made these days. The making-of videos for the UK thriller Last Passenger provide such an experience. More »

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Still MotionOne of the post-production techniques I’ve yearned to know more about was animating still photos. We’ve seen this used in countless film intro sequences, and now motion graphics artist and director Joe Fellows shows us how to achieve this 3D effect in After Effects. By separating the background, mid, and foreground, you can animate your photos creating a parallax effect that will turn your simple 2D still images into moving 3D storytelling devices. Check out the tutorial after the jump. More »

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ParallaxWhen I first started dabbling in After Effects and Flash several years ago, the first videos I made were simple animations (think cave drawings.) Not really knowing anything about layers or expressions made for interesting results when I tried to achieve the parallax effect — the illusion that objects move more quickly or slowly depending on how far away they are. Mikey Borup shares a tutorial that makes parallax scrolling a little bit easier. Continue on to watch the video: More »

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anamorphicThe anamorphic look is highly desired by many filmmakers for many reasons, including unique lens flares and bokehs. We posted an article a week ago on shooting anamorphic, and one thing some of you might’ve noticed is that anamorphic adapters and lenses can be expensive. So, if you find yourself in a bind financially, but are still wanting your images to resemble the aesthetic that anamorphic provides, Vashi Nedomansky of VashiVisuals is offering his After Effects plugin, VashiMorphic40, for the low, low price of free. Continue on for more details. More »

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Digital ZombiesIf you’re making a zombie flick, but you don’t have a talented makeup artist, but you do have a talented digital effects artist who can composite the bloody, rotten, festering features of the undead, then maybe it’d be a good idea to go digital with your characters’ zombification. A recent tutorial by Ryan Connolly of Film Riot shows us how to use a handful of digital tools, such as After Effects, Mocha, and MonsterFX Undead, to create a believable, decaying, and altogether disgusting zombie for your film. More »

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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 »

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DSLR DynamicsIf you’re looking to sharpen your filmmaking skills, then this might be something you should look into. Writer of The DSLR Filmmaker’s Handbook Barry Anderson and planetMitch of planet5D are teaming up to bring you the DSLR Dynamics Video Visuals Tour, with lessons aimed at providing participants with greater knowledge on how to take their craft to the next level. Continue reading to get more details on how to get involved, tour dates, and a special discount code for nofilmschool readers that’ll save you 15% when you sign up. More »

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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 »

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A Trip to the Moon_colorWe see it every day, everywhere we go. We use it to make sense of our world. We use it in our art, to mark errors, and to know when it’s time to go at a stoplight — color. Adding color to films was one of the first major developments of cinema before the advent of sound, digital, and 3D, and John P. Hess from Filmmaker IQ gives us a video lesson on not only the history of color in filmmaking, but also the science behind it — from Isaac Newton’s experiments with optics to today’s digital color manipulation. Check out the video after the jump. More »

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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 »

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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 »

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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 »

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Edius Main UIThere is no perfect editing solution on the market that will fulfill every editor’s needs on a consistent basis. Premiere Pro is great, but many take issue with the lack of ownership of the software with Adobe’s subscription-based business model. FCPX is the fastest thing around, but it still scares a good many editors, many of whom are not switching back to Apple any time soon. Avid is powerful. Really powerful. But it’s also a bit clunky and the learning curve is steep and somewhat intimidating. So what’s an editor to do when none of these programs fit their needs? How about trying Edius on for size? More »

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Audio gear xlrIt’s that hidden aspect of movies you may not think about, but can become the distinguishing factor between a real film and amateur hour: ADR. What gear do the pros use? How does a director prepare for an ADR session? What does ADR mean, anyways? Below, Julie Altus, who has been on the ADR stage at the illustrious Todd-AO for about ten years, gives us a glimpse into it all. More »

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CropperCapture[9]Color correction can be a real drag, especially if a good portion of your shots are improperly exposed or color balanced poorly. Trying to correct them by eye, while not entirely impossible, is not only an incredibly tedious and time-consuming process, but it’s easily the most impractical way to go about the task of color correction. On the other hand, through learning to quickly decipher the luminance and chrominance information in your shots with a quick glance at your scopes, you can take your color correction skills to the next level. Here’s an in-depth video from Larry Jordan in which he discusses what scopes are and how to read them: More »

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FilmConvertAs we’ve mentioned before here at NFS, FilmConvert is one of the best film stock emulators we’ve seen. This program allows users to give their digital footage that much desired cinematic look by using the color information of specific cameras to determine how a specific film stock could best be represented using that sensor. Now, FilmConvert is asking filmmakers to enter their cinematography competition with videos processed by their program. Hit the jump for info on rules, prizes, and how to enter. More »

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Chroma Key LessonWhen I first heard about chroma keying, I had 2 thoughts in my head: “Chroma keying is as easy as getting some bright green fabric at a fabric shop,” and  ”This process is so complicated I never want to try it.” Well, I’ve learned that it’s not difficult enough to shy completely away from, but it’s not as simple as I first thought. Either way, once again, Filmmaker IQ lends us a very generous hand and walks us through 5 elements of chroma keying through a helpful tutorial video — shedding light on things we should consider before we put our subjects in front of that big green (or blue) screen. Check it out after the jump. More »

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VFX Color GradingColor correction can be a frustrating ordeal when you have to sacrifice over or under-exposing one section of your shot in order to make the rest look good. But, in this relatively simple color grading tutorial, we learn how to use masks to isolate parts of the frame that need different adjustments. Using this technique will help you grade your image to where you won’t have to settle for muddy, over-saturated, or poorly exposed areas. Hit the jump to watch the tutorial. More »

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randy thom skywalker ranch oscar winner winning sound design designer audio post production interactive technologyMicrosoft has a history of recognizing the importance of elegant design. In January, the creators of the Windows 8 logo announced that they were to redesign NYC’s “notoriously confusing parking signs.” This sensitivity has also extended to sound design in the past, when experimental composer/producer Brian Eno was approached to create the Windows 95 start-up sound,” familiar to many I’m sure. Now, Microsoft’s YouTube channel has posted an interesting little video featuring Oscar-winner Randy Thom (The Incredibles, The Empire Strikes Back), the current Director of Sound Design at Skywalker Ranch, on the importance of the sound design of interactive technology. Simplicity — and, as it turns out, friendliness — are key. More »

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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 »