FilmLab: scan film with a smartphone
Shooting film is great, scanning it a nightmare. Abe Fettig decided to try something different: he wrote a software...
Aurora Aperture: new rear mount filters for extreme wide-angle lenses
The new Kickstarter campaign for the PowerND family of high quality fixed neutral density (ND) filters from Aurora Aperture...
Premiere Gal: Using Premiere Templates & the Essential Graphics Panel
Whether you want to create a quick split screen video, a bunch of square videos for Instagram with titles...
iClone & HitFilm, tools in the animator’s tool box
The prehistoric animation by Kevin Seid was created with a beta version of iClone7 and HitFilm Pro 2017. The...
Defining “The Cinematic Look”
Many of us talk about “the cinematic look” without defining what it is. Here’s my take. For a Mother’s...
Alexis Van Hurkman: What is New in DaVinci Resolve 14?
During NAB 2017, LumaForge hosted the Faster, Together Stage. There, post professionals from around the world came to talk...
ART OF THE SHOT: “Atlanta” DP Christian Sprenger
In this edition of the Art of the Shot, I had to opportunity to talk to “Atlanta” Director of...
ART OF THE CUT with a trailer editor
Recently I asked readers of Art of the Cut about what types of editors they wanted to hear from....
Streamstar to add NewTek NDI integration + JVC control
At NAB 2017, live production and streaming tools developer Streamstar from Bratislava, Slovakia announced that it will add NewTek’s...
Lenses: My Likes, Dislikes, and the Return of the Cooke Speed Panchro
Every lens has a feel and a purpose. Some reproduce the world perfectly, some imperfectly. They all have their...
