» Posts Tagged ‘workflow’

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frame io logoA week ago we were introduced to a brand new collaborative video workflow platform called Frame.io that aims to “pick up where Vimeo left off.” While Vimeo has some client review features, and there are a number of companies out there that offer similar services, Frame.io is attempting to be more seamless, faster, and eliminate headaches that are often associated with the process. There was a huge response to Frame.io, and many, many questions. Co-founder Emery Wells will be sending out a newsletter answering these questions, but they’ve given No Film School an early look at the text that will be going out later today. More »

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frame io logoCollaboration is a major part of filmmaking, but sometimes it seems as though technology hasn’t quite caught up with our increasingly mobile and online workflows. That’s why Frame.io is so exciting. This collaboration platform aims to “pick up where Vimeo left off” by allowing users to upload, review, and share videos privately with collaborators anywhere in the world with a single application. And once you check out the workflow, you’ll wonder how you ever did without it. More »

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scott freeman online editing editor post production cinema film filmmaking movies tv television series avid symphony blackmagic davinci resolve media workflowPerhaps one of the most under-appreciated aspects of cinema production is the work that goes into post. Editing, color grading, and visual effects play huge roles in shaping the final piece, but unseen and often unsung is the important work of the supporting positions in editorial, such as assistant editor and online editor. The men and women doing this kind of work keep the media management madness at bay, steam-rolling the workflow and ironing out issues so that editors and colorists may do their jobs unimpeded. To help lessen the burden, veteran online editor Scott Freeman has shared what he believes to be the first-ever unbreakable workflow between Avid Symphony and DaVinci Resolve. If hardcore work between these two tools is common for you, his research is a must-read. More »

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Kinefinity KineMINIWe talk an awful lot about cameras here on No Film School. Why? Because new cameras are absurdly exciting. However, there’s one camera company that might make some of the most intriguing and cost-effective cameras on the market, yet it’s a company that we rarely mention. I’m talking of course about Kinefinity, the Chinese company whose cinema cameras offer many of the features and aesthetics of RED’s cameras at a fraction of the cost. The folks at HDVideoshop in Berlin recently went out and shot with the KineMINI 4K, and shared some excellent footage, BTS, and workflow solutions for this unique camera. More »

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Red GiantFinding a good media management program is important if you want your production’s day-to-day operations to work efficiently. For those of you who have (or haven’t) been using Red Giant’s BulletProof for that, you’ll be happy to know that they released version 1.2 today. In the update, added camera support, including AVCHD and Canon XF formats, improvements in its footage backup and review tool, as well as integration with their automated audio/video sync program PluralEyes makes BulletProof a more robust and effective tool for managing your media. More »

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ARRI ALEXA XTThere were some rumors that ARRI might be talking about a new 6K 65mm camera or a new 4K camera at NAB 2014, but there wasn’t a peep from the company about any new cameras except for the AMIRA. While there are plenty of ALEXA projects shot at 1080p and 2K, Michael Cioni, CEO of Hollywood post house Light Iron, talks about how shooters can get the most out of the almost-3K sensor in a 4K world and how to optimize the ALEXA XT for 4K and UHD applications. More »

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musiDAvid editors and assistants working in long-format television or feature films know dealing with music can be cumbersome. Pulling large volumes of music tracks and tracking them through the licensing process can involve a lot of backtracking and headaches. Assistants need to scour the timeline to gather song titles, their start and endpoints, and how many times they were used, a manual process. It’s also limiting and inefficient for editors to sift through tracks without additional song details besides just their filenames. An AMA plugin called mus.iD that carries across the metadata embedded in the ID3 tag offers a solution. More »

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ALEXA-Studio_headerWithin the span of the past three years, the ARRI ALEXA has become the gold-standard for cameras in productions of all shapes and sizes, from the highest-end Hollywood extravaganzas to television shows and commercials and beyond. Essentially, if you’re looking to work as a camera operator or assistant, or even as a DIT, it will behoove you greatly to know your way around the ALEXA. With that goal in mind, I’ve pulled together some of the finest resources from around the web to get you started with this excellent camera system. Luckily, it’s a very intuitive camera, so you’ll be up and running in no time flat! More »

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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 »

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PaletteFor the filmmakers that have become accustomed to creating and editing footage and music digitally, it might be a welcomed change to do your work utilizing knobs, sliders, and buttons instead of a mouse and keyboard in order to get the pinpoint accuracy you’re looking for. However, if the thought of abandoning the systems you’re used to scares you, no worries. Canada-based engineers Calvin Chu and Ashish Bidadi have designed Palette, freeform modular controllers that allow users to build and design their very own hardware interface and designate their software functions according to their workflow needs. More »

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Video thumbnail for vimeo video 'Ender's Game' Color Pipeline is Even More Epic Than the Movie - No Film SchoolFile-based acquisition affords filmmakers endless flexibility all the way through post production. Given the many possible workflows, it becomes important to tightly manage everything for efficiency, quality-control, and sanity. Or, as post company Light Iron puts it below, “Not All Post is Created Equal” — especially when the task is to maintain a consistent color pipeline across 900 VFX shots and the remaining non-VFX material, not to mention managing 75 TB of camera RAW data. Now, the company offers a fascinating (and exhaustive) look at the DI job it performed on the sci-fi epic, Ender’s Game — one which demanded exactly such a process. Check out the 20-minute case study video below. More »

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5d 5d3 magic lantern ml raw offline online workflow bmd blackmagic design davinci resolve adobe premiere tutorial card

When I started playing around with Magic Lantern RAW video, two things came to mind: First, a camera called the “5D” was once again the nucleus of a low-budget cinematographic revolution — this time thanks to the Magic Lantern team; Second, how was I ever going to be able to edit what I’d shot? I’ve learned a lot since then, and it turns out an offline/online, proxy-based workflow is not only possible, but powerful. Check out the process that I’ve been using to round-trip Magic Lantern RAW between Adobe Premiere CC and DaVinci Resolve Lite below. 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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Sareesh Sudhakaran workflow software dit ingest dailies grading adobe premiere apple final cut pro fcp x blackmagic davinci resolve red cine chartYour on-set digital workflow can vary wildly depending on your camera, budget, and schedule with each variable uniquely affecting the others. But, is there a flexible, multi-purpose software package that can truly cover all the bases, and at a better price than all the rest? Wolfcrow has sought to answer this question in a recent, very detailed, post. Click through for a few more details, and to see if you agree with its findings. Could Premiere & Adobe CC have the overall best value? 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 »

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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 »

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Video thumbnail for vimeo video Red Giant BulletProof Media Management App Now Available in Public Beta - nofilmschoolAlmost two months ago, Red Giant announced BulletProof, a complete offload, prep, and delivery solution for camera footage. While the software was put through its paces with Spy vs. Guy (which premiered at NAB), the software is now finally open to the public in Beta form. Check out some videos below that explain how you can get started using BulletProof. More »

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WebM VP9 Video Compression CodecLet the next-gen online video compression wars begin. H.265, the codec that was approved earlier this year as an ITU-T standard and claims to be 50% more efficient than its predecessor H.264, now looks to have some competition in the Google-partnered WebM open-source V9 format, a step up from the highly adopted V8. Read on to watch some side by side comparisons and find out what this codec might do for you. More »