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September 22, 2020, 10:15 pm
If you like to record special moments, investing in a video camera can be a good idea. There will be times when you will need to shoot videos in low light conditions, and a regular camera may not perform well under such conditions. Having a low light video camera will make things easier for you in such situations. You won’t have to rely on a light source; however, this doesn’t mean you can’t use lights or a softbox while shooting in low light conditions.
September 17, 2020, 1:12 pm
In our new column Color Code, Luke Hicks chooses a handful of shots from a favorite film in order to draw out the meaning behind color and how it plays into both the scene and the film as a whole. For his third entry, he analyzes Jane Campion’s In the Cut.
September 11, 2020, 1:24 pm
The artificial intelligence based colour grading system Colorlab Ai certainly looks like it could transform the grading process. Colorlab AI advisor and investor Steve Bayes explains why he became involved and how this technology should eventually become available to Final Cut Pro X users.
September 9, 2020, 4:00 pm
Color Intelligence, a Hollywood-based startup, has announced a ‘Factory Driver Program’ offering early access to its groundbreaking software Colourlab Ai, a revolutionary color grading system. Try it now! Artificial Intelligence here, AI there. It’s everywhere, and while it is a marketing buzzword, it also reflects the changes AI brought to many industries. Color grading, for [...]Read More...
August 24, 2020, 1:17 pm
In the film days, a cinematographer had a good handle on what the final printed image would look like. The film stocks, development methods, and printing processes were regimented with specific guidelines and limited variations. In color television production, up through the early adoption of HD, video cameras likewise adhered to the standards of Rec. 601 (SD) and Rec. 709 (HD). The advent of the video colorist allowed for more creative looks derived in post. Nevertheless, video directors of photography could also rely on knowing that the image they were creating would translate faithfully throughout post-production.
August 20, 2020, 1:21 pm
In our new column Color Code, Luke Hicks chooses a handful of shots from a favorite film and analyzes them in detail to draw out the meaning behind specific colors and how they play into their scene and the film as a whole. Inspecting color is like inspecting the soul of a film. It’s an endless endeavor to better understand the artists’ intentions and our connection to the work. For his second entry, Luke digs into Olivier Assayas’ Irma Vep.
August 12, 2020, 3:50 pm
When developing a digital and social spot for Candleosophy meditation candles, director Ruben Latre was faced with a new challenge, one he had not yet encountered during his 20 year career: due to COVID-19 social distancing and stay-at-home requirements, Ruben was tasked with producing the commercial from start to finish in his home in New York City.
July 9, 2020, 1:41 pm
Colorfront, which provides dailies and transcoding, has a new remote working/cloud initiative that lets TV and film post users to continue working safely and efficiently to fulfill the growing global demand for content during the worldwide COVID-19 crisis. Colorfront has been developing its remote working practices, particularly cloud-based operations, over many years. Continue reading → July 8, 2020 The post Colorfront intros Transkoder with remote/cloud capabilities appeared first on p...
Gordon sits down with Wade Barnett(Supervising Sound Editor) and David Barbee (Sound Designer) to discuss their work on Amazo ...
Gordon sits down with Shawn Paper to discuss Crashing, editing, and the new film The Broken Hearts Gallery.
Gordon Sits down with Arielle Kilker and David Nordstrom, the Supervising Editors of Netflix's hit documentary series Ch ...
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