Browsing: Post Production

The things that happen in the editing bay.

Post Production
What’s New in VEGAS Pro 14

Here At Last And Under New Ownership The Vegas world was excited in April 2014 with the release of Vegas Pro 13 at NAB. With a typical release at NAB or IBC, everyone was waiting for an announcement in April…

The Odyssey7Q and Sony FS700 Tests

Originally posted on Dashwood Cinema SolutionsI was very excited last week to hear that Convergent Design had finally released the highly-anticipated firmware update for the Odyssey7Q that added ProRes422 and 4K RAW recording.  I’ve been a proud owner of the…

Post Production
Why Make Video Look Like Film? An Inside Look…

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.

Post Production
Making the Sony F55 Look “Filmic” with Resolve 9

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.

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