DaVinci Resolve 12

More than a color-correction tool, the latest update aspires to be a complete post package

By Michael Heldman

Since acquiring DaVinci and its color-correction software Resolve in 2009, Blackmagic Design has released several updates to the program. Available for Mac, Windows and Linux, Blackmagic’s latest version of DaVinci Resolve continues to offer new features along with an improved UI design. There are two versions available: the free DaVinci Resolve and... Read more

Edit Color Deliver

Blackmagic’s DaVinci Resolve 11 becomes a true all-in-one postproduction app

By Neil Matsumoto

Over the years, DaVinci Resolve has become the industry-standard color-grading application and has been used on more feature films, television shows, commercials and music videos than any other program. DaVinci has a long history in postproduction dating back to the tape days of the ’80s, and in 2004, they released Resolve, a professional application... Read more

4K Post Part II

Encore’s Pankaj Bajpai discusses the 4K workflow, as well as its future and inevitable adoption

By Neil Matsumoto

In the February 2014 issue of HDVideoPro, we examined the current 4K post environment for filmmakers producing 4K content, from capture to post. We took a look at a number of categories, including cameras, computer hardware, NLEs, on-set workflow and color-grading systems. To sum up, with the exception of ARRI, 4K is the dominant capture format, but... Read more

The Color Cure

Get Perfect Color From Capture To Output With SpyderHD

By Staff

SPONSORED CONTENT Filmmakers and photographers now face a dizzying array of cameras, lenses and displays, all of which come into play during the creation of a single project. This makes it difficult to keep content color coordinated from capture to post. Whether working independently or coordinating with a professional postproduction house that must... Read more

At A Glance: Technicolor CineStyle Color Assist

A professional, yet intuitive color-grading system

By Neil Matsumoto

If you’re a Canon DSLR shooter, one of the best third-party applications has been Technicolor’s CineStyle profile, which enables you to capture a flat Log-like look, which gives you more latitude during color grading. Now Technicolor has released a software application, CineStyle Color Assist, that makes color grading easier and more efficient,... Read more

Cause And FX

Red Giant releases new effects tools targeted at both professional and indie filmmakers

By Neil Matsumoto

Here at HDVideoPro, we’re always on the lookout for companies that create innovative tools for indie filmmakers, yet can still satisfy the pros. Red Giant, which produces plug-ins for compositing software and NLEs, is one of those companies. Its most popular plug-in, Magic Bullet (introduced back in 2001) is an advanced, yet easy-to-use application... Read more

A Loaded Suite

Adobe CS6 Production Premium offers major upgrades and new features to Premiere Pro and After Effects, as well as a world-class color-grading system in SpeedGrade

By Neil Matsumoto

It goes without saying that the production industry has seen some significant changes in the past couple of years. Disruptive camera technology (the RED ONE, Canon EOS 5D Mark II, etc.) has helped create a new industry in which low-budget filmmakers can compete with high-end studios and production houses in delivering a professional-looking movie. The... Read more

Grading To Extremes

Hollywood DI puts the finishing touches on two indies

By Neil Smith

Gangsters and horses don’t typically go hand in hand, but at Hollywood DI, you can never be sure of what a day’s work will entail. Our West Hollywood-based post house recently completed color correction on two independent feature films, the newly released And They’re Off, and Guido, which will be appearing in select theatres soon.... Read more

Preserving History Film

Blackmagic Design’s tools help revive both old and new films

By George Avgerakis

I would have thought that all of the films that needed repair or restoration would have been repaired or restored by now. The three people who changed my mind about this are Kevin Brownlow, Gary Adams and Sean McKee. Brownlow recently won an honorary Academy Award® at the 2010 Governors Awards, presented by the Academy of Motion Picture Arts... Read more

Color Control

Cinematographers adopt on-set color-management systems to maintain their original vision

By Debra Kaufman

Of all the disasters that can happen on set and on location, perhaps one of the most hair-raising has to do with color. The cinematographer—hired because of his or her experience and skill in producing perfect images—labors to control and tweak a range of elements to create a painstakingly designed look. Later that night, a telecine artist in a... Read more

The Desktop DI, Part II

NLE systems, stand-alone compositors and plug-ins help editors become colorists

By George Avgerakis

Rob Carroll, President & CEO of Cine-tal, a manufacturer of color-calibration software for television and feature-film production, likes to think long-term. “Our business has been through a lot,” he says. “We spent years understanding and improving compression technology. We’ve been through the format transition from SD to... Read more

The Desktop DI, Part I

In part one of a two-part series, HDVideoPro explains DI versus color correction, as well as examines new desktop DI hardware

By Ian Blair

The story of digital intermediate (DI)— desktop or otherwise–begins with the DP. If you ask a typical Hollywood director of photography about color correction, he or she usually will reply, “Shoot for the look you want and don’t expect the colorist to ‘fix it in the mix.'” If a DP fails to shoot a scene to the ultimate... Read more