Creating the look for Netflix’s The End of the F***ing World

By Adrian Pennington

Toby Tomkins, co-founder of boutique studio Cheat explains how he worked with 8K rushes shot on Red to devise and execute the stylish look of Netflix’ hit dark comedy The End of the F***ing World.

Content in 8K UHD won’t be transmitting or streaming its way to a screen anytime soon but the ultra-high-resolution format is already making its mark in production. Continue reading

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NAB 2018: A closer look at Firefly Cinema’s suite of products

By Molly Hill

Firefly Cinema, a French company that produces a full set of post production tools, premiered Version 7 of its products at NAB 2018. I visited with co-founder Philippe Reinaudo and head of business development Morgan Angove at the Flanders Scientific booth. They were knowledgeable and friendly, Continue reading

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Director HaZ Dulull on his sci-fi offering The Beyond

By Randi Altman

Director Hasraf “HaZ” Dulull is no stranger to making movies. Before jumping into writing and directing short sci-fi films, he was a visual effects supervisor and producer. His short film resume includes Project Kronos, I.R.I.S. and Sync. Recently, his first feature film, Continue reading

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Director Kay Cannon on her raunchy comedy Blockers

By Iain Blair

At a time when women are increasingly breaking down barriers in Hollywood, writer/director Kay Cannon is helping lead the charge. This director of Universal’s new film Blockers got her start at such comedic training grounds as The Second City, The iO West Theater and The ComedySportz Theatre. Continue reading

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B&H expands its NAB footprint to target multiple workflows

By Randi Altman

In a short time, many in our industry will be making the pilgrimage to Las Vegas for NAB. They will come (if they are smart) with their comfy shoes, Chapstick and the NAB Show app and plot a course for the most efficient way to see all they need to see. Continue reading

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Red’s new Gemini 5K S35 sensor offers low-light and standard mode

Red Digital Cinema’s new Gemini 5K S35 sensor for its Red Epic-W camera leverages dual-sensitivity modes, allowing shooters to use standard mode for well-lit conditions or low-light mode for darker environments.

In low-light conditions, the Gemini 5K S35 sensor allows for cleaner imagery with less noise and better shadow detail. Continue reading

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Color plays key role in Ava DuVernay’s A Wrinkle in Time

Color itself plays a significant role in the fantasy feature A Wrinkle in Time. To help get the look she wanted, director Ava DuVernay chose Mitch Paulson of Hollywood’s Efilm to handle final color grading — the two worked together on the Oscar-nominated film Selma. Continue reading

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Video: Red Sparrow colorist David Hussey talks workflow

After film school, and working as an assistant editor, David Hussey found himself drawn to color grading. He then became an assistant to a colorist and his path was set.

In a recent video interview with the now senior colorist at LA’s Company 3, Hussey talks about the differences of coloring a short-form project versus a long-form film and walks us through his workflow on Red Sparrow, Continue reading

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Netflix’s Altered Carbon: the look, the feel, the post

By Randi Altman

Netflix’s Altered Carbon is a new sci-fi series set in a dystopian future where people are immortal thanks to something called “stacks,” which contain their entire essence — their personalities, their memories, everything. The one setback is that unless you are a Meth (one of the rich and powerful), Continue reading

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Video: Fotokem DI colorist Walter Volpatto on The Last Jedi and color

 

Last month Blackmagic held its first Expo, and one of the keynote speakers was Fotokem colorist Walter Volpatto. He was born in Italy and grew up on a farm, quite a long way from his current life in Los Angeles.

Volpatto originally got into this industry as a broadcast engineer, Continue reading

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