By Brady Betzel
With Blackmagic’s DaVinci Resolve 15 released at this year’s NAB, a lot of editors, colorists and now audio mixers want to dive in and see what all of the fuss is about.
Resolve 15 is now a Pro Tools competitor thanks to Fairlight and an After Effects competitor thanks to Fusion. Continue reading
April 26, 2018
The post Review: Warren Eagles’ Resolve training appeared first on Randi Altman's postPerspective.
Senior colorist Charlie Tucker has joined Burbank’s Point 360. He comes to the studio after 20 years at Technicolor, where he also worked as a senior colorist.
The UK-born Tucker’s credits include TV shows such as The Vampire Diaries and The Originals on CW, Continue reading
April 25, 2018
The post Point 360 grows team with senior colorist Charlie Tucker appeared first on Randi Altman's postPerspective.
Hiatus, a full-service, post production studio with in-house creative editorial, original music composition and motion graphics departments, has opened in Detroit. Their creative content offerings cover categories such as documentary, narrative, conceptual, music videos and advertising media for all video platforms.
Led by founder/senior editor Shane Patrick Ford, Continue reading
April 23, 2018
The post Creative editorial and post boutique Hiatus opens in Detroit appeared first on Randi Altman's postPerspective.
Prior to version 10.4, the color correction tools within Final Cut Pro X were very basic. You could get a lot of work done with the color board, but it just didn’t offer tools competitive with other NLEs – not to mention color plug-ins or a dedicated grading app like DaVinci Resolve. With the release […]
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
April 17, 2018
The post Creating the look for Netflix’s <i>The End of the F***ing World</i> appeared first on Randi Altman's postPerspective.
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
April 16, 2018
The post NAB 2018: A closer look at Firefly Cinema’s suite of products appeared first on Randi Altman's postPerspective.
Skip Kimball has joined Efilm as senior colorist. Kimball brings more than 30 years of experience to this post house, spanning features, television, music videos and commercials.
He recently finished work on seasons 1 and 2 of the Netflix’s Stranger Things for executive producer Shawn Levy, Continue reading
April 13, 2018
The post Efilm adds veteran colorist Skip Kimball appeared first on Randi Altman's postPerspective.
By Brady Betzel
Adobe has had a tradition of releasing Creative Cloud updates prior to NAB, and this year is no different. The company has been focused on improving existing workflows and adding new features, some based on Adobe’s Sensei technology, as well as improved VR enhancements. Continue reading
April 3, 2018
The post NAB: Adobe’s spring updates for Creative Cloud appeared first on Randi Altman's postPerspective.
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
March 30, 2018
The post B&H expands its NAB footprint to target multiple workflows appeared first on Randi Altman's postPerspective.
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
March 26, 2018
The post Color plays key role in Ava DuVernay’s <i>A Wrinkle in Time</i> appeared first on Randi Altman's postPerspective.