Archive for March, 2010
Ars Techica: Good Intentions, (mostly) Bad Filmmaking Advice
“How not to write an article about the post-production pipeline” is what should be the name of an Ars Technica piece was recently posted, “How To Do Pro-Quality Video Post-Production at Home“.
I was about to use this space to issue a screed against the article, and then I read the comments and discovered plenty of others quickly came in and stomped on it.
I won’t get into the specifics of all the things wrong with that article (4:4:4 for BluRay… huh?) other than to say this:
As someone who has a bit of a passion for helping independent, inexperienced filmmakers produce totally professional films – I’m saddened that this is published on such a large and influential website. After reading that article, at least a few budding filmmakers will either become discouraged at the needless complexity of the endeavor or implement some of the suggestions, slowing down the process or damaging their final results.
Control the Color Wheels in Final Cut and Apple’s Color
Why do different color wheels in different pieces of software and applications act differently?
How does that answer effect our approach to color grading?
Those two thoughts came to the top of my mind when reading Oliver Peter’s excellent post, Grading with Color Wheels. Why don’t you head over there and read that post? It’s very informative and helps build the foundation for this post. I’ll wait…
Understanding how the color wheels in your NLE process the image has a huge impact on how you approach your color correction. In this post we’ll build out the concepts introduced in Oliver’s article to give us a working methodology.
Feed Update : We’re lurching back to life!
Quick note to those of you that still have me in their feed. First, Thanks! Second, I’m moving off my old platform onto WordPress. I suspect when I import all my old posts they’re going to overwhelm the feed.
If that happens, my apologies. Just mark everything read. A day or two later I’ll refresh the 3 latest articles and then everything will run fresh from there.
Guto Barra, Director/Producer
"Your expertise and patience proved to be essential assets to finalizing our documentary, especially under the huge time crunch for our MoMA world premiere."
Chris Ripper, Director
Ressurection Man (in post-production)
"I love how you add production value to the feel of a shot not just "color"and create a mood appropriate to the content. And pushing your color a certain direction so cleanly. Impressive."