AppleTV adds Match Frame Rate & Match Dynamic Range options (part 1)
If you have been reading my articles for the past few years, you know that I am quite into...
Kicking the tires on Final Cut Pro X 10.4’s new color grading tools
Here we are just over a year after the last major Final Cut Pro X update and we’re moving...
Final Cut Pro 10.4 is out and it is awesome
Here are some videos that explain the key features. First up, before you update, watch this: Now, here are...
A selection of video and photo monitors for 2018
Video editors and photographers need high quality monitors to clearly visualize their work, but that does not mean they...
ART OF THE CUT with the assistant editors and VFX editors of Kingsman: The Golden Circle
Occasionally, Art of the Cut features the assistant editors and others in the post-production team. These are some of...
Why Contracts are Necessary for Video Production Companies
I’m a fan of People’s Court with Judge Marilyn Milian, and she often says that when you enter into...
Panavision revives VistaVision for a digital world: part 2
Does large format really create a greater sense of depth and dimensionality in a flat image? Read on to...
Panavision revives VistaVision for a digital world: part 1
The mid-20th century epic movie experience is returning to a screen near you— at your local cineplex, in your...
Classic Course: Tint versus Tritone
Continuing with still-useful movies from our old “Insight Into Effects” course, this one explains why you shouldn’t reach for...
Bigger is better? OK, but why?
Whether it’s Quentin Tarantino shooting “Hateful Eight” in 65mm, the Panavision Millenium DXL, RED’s VV sensors, the Arri Alexa...
