Colourist Greg Fisher gives us an exclusive insight into how he delivered the final grade for Mat Whitecross’s new music documentary, Oasis: Supersonic
Film use is on a roll. This year and next year film production and more importantly processing is enjoying something of a resurgence and there are a number of reasons for it
DITs look after your precious data but their rampant evolution is putting them in the middle of bigger, creative decisions
After 12 years she is still clowning around but this time in digital. We talked with the DoP, colourist and VFX team about how they created the ‘new’ Bridget Jones.
FilmLight has introduced Prelight, a freely licensed Mac OS X application designed to help DoPs and other professional creatives to author and review looks in pre-production and on-set.
Codex is launching Codex Production Suite 4.5, their latest update for the the all-in-one software package that enables the colour grading, review, metadata management, transcoding, QC and archiving of media generated by the digital cinematography cameras.
In the next release of Adobe's Creative Cloud and available in early summer Premiere Pro CC will add new virtual reality capabilities, including 'field of view' mode for spherical stitched media.
Out in UK cinemas on the 28th of March, Eddie the Eagle stars Taron Egerton (Kingsman: The Secret Service) in the role of Eddie as he goes from his childhood dream of entering the Olympics to his struggles training for a professional ski jumping future with the help of coach Bronson Peary, played by Hugh Jackman.
We’ve never understood these keyboards. Either you know the shortcuts – in which case you don’t need them written on the keys – or you don’t – in which case hunting for the function on the keyboard is slower than going to the program’s menu. But they do exist and Logickeyboard have announced that the new DaVinci Resolve 12 shortcut keyboard now is available for PC and Mac.
ADAM GARSTONE is on more familiar ground with the second part of his Resolve 12 review because it’s all about the grading, there’s not much new but what there is is worth the update.
The movie Suffragette allowed DoP Edu Grau to use a camera he’d almost forgotten about, the camera gave him the freedom to change his style of shooting which in turn totally changed the style of the film.
Led by Production VFX Supervisor Richard Stammers, and MPC VFX Supervisors Anders Langlands and Tim Ledbury, the Moving Picture Company were lead visual effects studio on Ridley Scott’s The Martian, delivering 425 shots.