Modern Videofilm Goes the Distance on Color-Grading for Avatar
Jan 14, 2010
Modern Videofilm installed a Blackmagic Design DaVinci Resolve system at the Fox lot in Century City, then networked it...
ANIMEX Boosts Tech to Find a Truer Jungle Color Scheme in Nitkà©
Jan 13, 2010
The animated film, Nitkà©, released in Mexican theaters last month, is about a little girl that wants to be...
Production Workflow for Investigation Discovery's The Shift
Jan 13, 2010
Footage for Investigation Discovery's reality crime show The Shift is captured on location by a mere two shooters who...
DJI’s New Mavic Mini Is a 249-Gram Ultralight Drone With a 30-Minute Flight Time, 2.7K Video & More
Nov 7, 2019
To help you reach new heights and in order to make your drone flying smaller, lighter, safer, and better,...
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How Renegade Expanded Its MPEG-2 Workflow
Jan 8, 2010
One of the bottlenecks in Renegade's workflow historically has been its system for encoding files for MPEG-2 based deliverables....
How Weta Digital Handled Avatar
Jan 5, 2010
Avatar, director James Cameron’s second billion-dollar baby, stretched the process of making a visual effects blockbuster as much as...
What Makes Invictus a VFX Film?
Dec 17, 2009
Invictus is rife with approximately 600 visual effects shots. If VFX supervisor Michael Owens has his way, audiences won't...
How Shed Media and Catalyst Post Ramped Up for Reality
Dec 17, 2009
Before production began on new seasons of ABC's Supernanny, Bravo's Real Housewives of New York, and CMT's World's Strictest...
ShotPut Pro integrates with Frame.io
Oct 24, 2019
The most recent release of ShotPut Pro 2019.3, integrates with the popular cloud-based collaboration platform Frame.io. ”Imagine Products’ integration with...
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Driving Auto-Realism over Rough Terrain for 2012
Nov 24, 2009
Roland Emmerich’s feature film vision of the apocalypse, 2012 required lead John Cusack to drive a limo through earthquake-riddled...
