When Rubber Monkey Software of New Zealand asked me to review their filmConvert software, it occurred to me that this was an opportunity to ask some deeper questions about film stock emulation products that never seem to get asked: not just “how,” but “why?” Rubber Monkey software is based in New Zealand. Lance Lones, one of their principals who has a strong background in visual effects as well as color technology, took a lot of time to answer my emailed questions in great detail, for which I am truly thankful. My questions are in bold, followed by Lance’s responses.
I’ve spent a long time learning to make HD footage look “filmic” without really knowing exactly what that meant. I’ve just picked up a bit of insight, however, and it’s permanently changed how I look at video and color. I’ve shot a number of projects using an Arri Alexa in WYSIWYG mode — for which I’m considered a bit of an oddity — but with it I can get great results with no more than minimal grading and clients love walking away with ProRes files whose look is 90% there. My problem is that I now have to do this with other cameras as Alexa’s price point is considered “high” in my market due to the release of several newer, cheaper and fairly capable cameras. I love the Alexa look, but my current task is to figure out how to get close to that look when the production doesn’t have the budget to rent one — or, more likely, in the event the production company owns their own camera.
If you’re using OS X and you copy AVCHD media folders to a NAS (network-attached storage) or a case-sensitive disk, you may run into problems: opening the media in 10.8’s Finder gives you “CANNOT OPEN” instead of a clip browser, FCP X can’t see the clips, and so on. Fortunately, you can fix this.
Rampant Design shows new products to instantly enhance your projects with animated mattes, transitions, and light elements. At NAB 2013 in its booth #SL3630 (Plug In Pavilion) in the Las Vegas Convention Center, Rampant Design Tools will show solutions that enable filmmakers, editors and VFX artists to instantly enhance their projects with Quicktime-based animated mattes, Read More
Pete Bauer explains the process of transitioning from Adobe CS6 or other disc-based NLE applications to Adobe Creative Cloud. (runs just under 7 min.) This Adobe CS6 tutorial by Pete Bauer of Contrail Media walks you through the process of subscribing to and using Adobe Creative Cloud, which is an online subscription service that lets Read More
Kappa Studios switches from Avid to an all Adobe workflow for the production of Cartoon Network’s new hit show Annoying Orange. This animated series originated online and when viewership broke a billion views it was time to take the production to broadcast. With the demand for extremely quick turn around Kappa Studios knew only Adobe video tools could meet their needs for complicated animation and accelerated post workflows to make the production a success.
The practice of installing new software on a DVD is going the way of the dinosaur. Top software companies are moving away from physical installation disks to an online cloud-based download system. Adobe is leading the charge with Adobe Creative Cloud. Creative Cloud is an ongoing membership that lets you download and install all of the Adobe Creative Suite 6 software, including Adobe Premiere Pro, Photoshop Extended, After Effects, Audition, SpeedGrade, Prelude, Illustrator, and Flash Professional. You also get other creative software like Lightroom, Acrobat, Dreamweaver, and services like Adobe Story Plus for scriptwriting, production scheduling, and reporting. DVi contributing author Clay Asbury guides you through Adobe Creative Cloud.
Cutting a 14-Camera Music Video in FCP X Some months ago, I was looking for a project that would let me explore FCP X’s multi-cam capabilities. Then I heard about The Nash, Phoenix’s new jazz education and performance venue. I figured a project with them might be a great opportunity to learn something useful about Read More
This Adobe CS6 tutorial by Pete Bauer of Contrail Media shows the round-trip process of taking a video clip through Adobe SpeedGrade that was deliberately shot at the wrong color temperature (i.e., a camera’s white balance was set to daylight instead of tungsten), because color temperature is something that Premiere Pro’s built in color correctors don’t explicitly have, but SpeedGrade does. Rounding out the workshop is a demo of a simple audio noise clean-up with Adobe Audition.
After a couple of controversial releases with seemingly minor visible changes (but plenty of changes under the hood adding the OpenFX API, GPU acceleration, 3D video, and compatibility with many new video formats), Sony has now released Vegas Pro 12. Version 12 has added many new usability features that users have been requesting for many Read More