Color Control

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

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 Suite Spot

Adobe’s unified, all-in-one CS5 Master Collection allows you to move into new platforms

Now is the time to augment your “in-house” creative skills, and the Adobe Creative Suite 5 (CS5) Master Collection has something for everyone. The CS5 Master Collection is a PC/Mac bundle of 23 programs and online services. You may already know Premiere Pro CS5 (a $799 NLE), After Effects CS5 (compositing, $999) and Soundbooth CS5 (recorder/mixer,... Read more

The Desktop DI, Part II

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

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

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

ProRes Version 2.0

Apple releases three new flavors to Final Cut Pro 7’s lossless editing codecs

For indie filmmakers, Apple’s Final Cut Pro currently wears the NLE (nonlinear editing) systems’ crown, and with professional editors such as Walter Murch and renowned filmmakers such as Francis Ford Coppola, David Fincher and the Coen Brothers having already made the switch, Final Cut Pro has been steadily moving in on Avid’s professional... Read more

The Cutting Edge

Profiling the latest nonlinear editing systems to challenge Final Cut Studio’s buzz

In the earliest days of nonlinear editing, programmers attempted to regain traits of film editing, such as grabbing a clip from a flannel-lined bin and feeding it into a Steenbeck or Movieola edit machine. Today, many nonlinear editing systems (NLEs) still feature drag-and-drop (D&D) editing to a timeline. Later NLEs, emulating online video editing... Read more

Connect The Dots

From DP to DI, new clues in the postproduction industry signal a paradigm shift

Many great video people lost a lot of money investing in $100,000+ “online” tools like CMX and ADO just before the advent of Avid and the Video Toaster and the bottom of an entire market fell out. I think another bottom is going to fall out. Let’s witness a chain of events in the process of exploring six new products—ARRI Relativity,... Read more

The State Of Post

The postproduction industry is seeing rapid change in both film and digital workflow

“The industry is always going through a metamorphosis,” offers Dennis Ho, president of Hollywood-based post house Digital Jungle Post, on the current state of postproduction. “It’s the nature of the beast. You need to acquire new hardware and software, especially when digital is pretty much at the forefront of our work.” Ho... Read more

The Quest For Uncompressed

Creative studio Mind Over Eye delivers uncompressed HD from production through post

The pursuit of uncompressed HD for uncompromising high-definition production quality has made Mind Over Eye one of the West Coast’s most cutting-edge commercial production facilities for its national clients. Its creative director/co-owner, Bill Wadsworth, and his partners have built Mind Over Eye from a home studio service in Hermosa Beach, Calif.,... Read more

Posting Red

Postproduction companies are discovering there are multiple workflow solutions for projects shot with the RED ONE camera

The RED ONE (www.red.com) camera is red hot. Numerous features—indie and otherwise—TV shows and music videos are using the high-res camera for capture. But capturing images is only half of the game, and every facility has to tame the RED workflow beast in its own way. Although a handful of manufacturers—and their ranks are growing—already have... Read more

The Raw Deal

Raw video and its workflow is explained, from production through post

The Oxford American Dictionary defines raw as: "Uncooked, a material or substance in its natural state; not yet processed or purified, information not analyzed, evaluated or processed for use." The definition of raw generated by the digital stills industry reads as such: A raw image file contains minimally processed data from the image sensor... Read more
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