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Pro Video Coalition

The Color Grading Environment and Ideal Lume Bias Lights

The Color Grading Environment and Ideal Lume Bias Lights

Lighting for Color Grading

By Steve Hullfish | June 07, 2013

In my first book on color correction, “Color Correction for Video – 2nd Edition” there’s a great story about an early color grading pioneer. When they built his color correction suite, they made it like a “smoking room,” with warm, incandescent lighting and... Read More

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2013 Sundance Institute Directors Lab:  May 27, 2013 – June 7, 2013

The Color Grading Environment and Ideal Lume Bias Lights

By Sony Staff | June 07, 2013

Production Introduction Blog 1 By:  Antonio “T.J.” Doctor – Production Supervisor The Sundance Institute Directors Lab is a learning and discovery experience for emerging directors. The filmmaking tools and production process used at the Directors Lab have a direct... Read More

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Blackmagic Design Announces New Low Price for UltraStudio 4K

The Color Grading Environment and Ideal Lume Bias Lights

By Createasphere Staff | June 07, 2013

Fremont, CA - June 6, 2013 - Blackmagic Design today announced a new lower price on its popular UltraStudio 4K to US$995.

UltraStudio 4K is the world’s most advanced Thunderbolt capture and playback solution that features 6G-SDI and HDMI 4K video connections so it can work in... Read More

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DIGITAL ARTS TRAILBLAZES NEW AGE OF DIGITAL AUDIO AND PICTURE POST PRODUCTION IN NEW YORK CITY

The Color Grading Environment and Ideal Lume Bias Lights

By Createasphere Staff | June 05, 2013

NYC, New York, June 5, 2013 – In anticipation of the mass adoption of 4K/Ultra High Definition (UHD) technology worldwide, New York’s Digital Arts (www.digitalartsny.com) is blazing a trail in the feature and TV communities with the first true-4K post production facility on the East... Read More

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Oscar Winner Tom Rolf to Headline the London SuperMeet June 28

The Color Grading Environment and Ideal Lume Bias Lights

By Createasphere Staff | June 05, 2013

The Creative Pro Group Network have announced that the London SuperMeet will return to the Great Hall at the Kensington Conference and Event Centre in London, England on Friday, 28 June, 2013. This SuperMeet follows the blinding success of the recent Las Vegas SuperMeet held in... Read More

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One Direction Global Tour Uses Blackmagic Design’s ATEM for Live Switching

The Color Grading Environment and Ideal Lume Bias Lights

By Createasphere Staff | June 05, 2013

Fremont, CA - June 5, 2013 - Audiotech Services Ltd is supplying One Direction's 120 date ‘Take Me Home’ Tour with an AV control system built around Blackmagic Design infrastructure, including the Blackmagic Design ATEM 2 M/E Production Switcher with ATEM 2 M/E Broadcast Panel,... Read More

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MTV Music Group revolutionizes red carpet workflow

Workflow based on Adobe Prelude, Adobe Premiere Pro, and MediaSilo speeds content distribution to more outlets

By Meagan Keane | June 05, 2013

With the CMT Music Awards airing tonight, we thought you might be interested in learning about how the production team behind these award shows captures, edits, and distributes all the great supplemental content. From red carpet interviews to show promos, the content needs to move quickly and... Read More

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Making Ken Burns Obey

The Color Grading Environment and Ideal Lume Bias Lights

On this week's MacBreak Studio

By Mark Spencer | June 04, 2013

This week on MacBreak Studio, Steve Martin from Ripple Training shows us how to "take charge" of the Ken Burns effect in Final Cut Pro X.

This effect makes it fast and easy to create pans and zooms on still images (or video for that matter). However, it does suffer from one... Read More

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Cine Gear 2013 Wrapup

The Color Grading Environment and Ideal Lume Bias Lights

Thoughts and Impressions from the Paramount backlot

By Matthew Jeppsen | June 03, 2013

I've always enjoyed the pace of Cine Gear more than NAB expo. Set on the Paramount LA backlot on street sets and amongst huge sound stages, it's smaller, more intimate, and a lot more cine-focused. It's one of the highlights of my year, and Cine Gear 2013 this last weekend was no exception. Here are a few things that caught my eye as I was browsing through the fake streets of New York. Read on...

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LA Kings wow fans with Stanley Cup Moments edited with Adobe Premiere Pro

The Color Grading Environment and Ideal Lume Bias Lights

Production team switches from Final Cut Pro to Adobe Premiere Pro to produce content-rich series

By Meagan Keane | June 03, 2013

It’s an exciting time for the 2012 Stanley Cup Champion LA Kings. The team is in Round 3 of the 2013 NHL playoffs, with hopes for back-to-back Stanley Cup titles. LA Kings fans can’t get enough of the team, and that’s where Aaron Brenner, director of production for the LA... Read More

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Arby’s New National Ad Campaign Shot on Blackmagic Cinema Camera

The Color Grading Environment and Ideal Lume Bias Lights

By Createasphere Staff | June 03, 2013

Fremont, CA – June 3, 2013 - Blackmagic Design today announced that Glendale, CA based production and post house Fisher Film Works used Blackmagic Cinema Camera to film Arby’s recent “King's Hawaiian Roast Beef Sandwich” commercial, a nationally syndicated... Read More

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Together or Apart, Organizing the Fusion of Style and Balance

The Color Grading Environment and Ideal Lume Bias Lights

On different approaches to balancing scenic color and adding stylistic adjustments

By Alexis Van Hurkman | June 03, 2013

In this week's "Answers Occasionally Given," I tackle a question about efficient scene balancing workflow; whether it's better to apply stylistic adjustments as part of one's initial grade, or separately. Then, I discuss another reader's strategy for identifying color imbalances, and how it intersects with the use of automated tools for color balancing. 

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It takes a village….

The Color Grading Environment and Ideal Lume Bias Lights

By Createasphere Staff | June 03, 2013

A big congratulations to Karl and Julianna of Cine Gear. They did a great job with Cine Gear 2013!  And I know what it take to produce an event of this scale - it does take a village!

It was good to run into all the "family and friends."  Cine Gear always feels like a family... Read More

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Award Winning Film “The Lunchbox” Benefits from StorageDNA’s LTO/LTFS Solution

The Color Grading Environment and Ideal Lume Bias Lights

Producers save time and streamline workflow with The Bridge’s On-Set Lab powered by DNA Evolution for camera master archives and

By Createasphere Staff | June 03, 2013

IRVINE, Calif., May XX, 2013 -- StorageDNA, Inc., a leader in intelligent storage and archiving workflow solutions for media professionals, today announced that The Bridge’s On-Set Lab is delivering significant performance increases and substantial cost and time savings with archive and... Read More

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ScopeBox 3.3: Affordable and customizable video scopes

The Color Grading Environment and Ideal Lume Bias Lights

And with the new ScopeLink feature maybe one less computer required to implement it

By Scott Simmons | June 03, 2013

Video scopes are one of those things we often take for granted. Most all NLEs have video scopes somewhere in the software. They are very important when it comes to the color grading / color correction process but many of those working in post-production don’t really know how to properly use them (I say partially raising my own hand). Sometimes it’s a matter of making the right window arrangements to use an app’s built-in scopes but if you don’t save that window configuration then you’ll be less prone to use them when the time comes. Enter a product like ScopeBox which is $100 stand-alone video scope software. Video scope software, for the most part, requires its own computer and hardware to run, but ScopeBox 3.3 breaks that tradition with a new feature called ScopeLink.

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After Effects ExtendScript Training: Ep. 9

The Color Grading Environment and Ideal Lume Bias Lights

ExtendScript Script Writing Training

By David Torno | June 02, 2013

Welcome to episode 9 of the After Effects ExtendScript Training series. We will continue from last week and modify our script even further to search through our project layers for all of our blue solids and change their source color to red. We will also update the blue solid names by... Read More

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The Punk Rocker Who Became a Filmmaker

The Color Grading Environment and Ideal Lume Bias Lights

Richard Jobson uses all Adobe pipeline on Wayland’s Song

By Eric Philpott | May 31, 2013

We really pushed the boundaries of what you can do with the Creative Cloud software. For me, it's almost like being in a punk band again with Adobe: SpeedGrade and After Effects are my drummer and my bass player and Premiere Pro is my guitarist, who’s been getting much better. I have my... Read More

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See Adam Wilt and I at CineGear

Four words: Sony FS700, 4K raw.

By Art Adams | May 30, 2013

Come see Adam Wilt and I present a talk on the 4K-enabled Sony FS700 at CineGear: Saturday, June 1 at 2:15pm in the Sherry Lansing Theater.

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HDSLRShooter at NAB 2013:  Adobe After Effects CC

The Color Grading Environment and Ideal Lume Bias Lights

Sr. Product Manager for After Effects, Steve Forde breaks down new rotoscoping abilities and Maxon Integration

By Clint Milby | May 29, 2013

Prior to NAB 2013, we had the chance to visit Adobe Headquarters in San Jose and get an overview of the new Creative Cloud, including After Effects CC, (check it out here:  http://bit.ly/12MCxlw). At NAB, we were treated to a private meeting with Steve Forde, Sr. Product Manager... Read More

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Learn How You Can Improve the Efficiency of Your Workflow When Switching to Adobe Premiere Pro

The Color Grading Environment and Ideal Lume Bias Lights

Watch the archived version of this free webcast

By PVC News Staff | May 29, 2013

If you are considering or have already switched to Adobe Premiere Pro for your video editing, then you may want to take advantage of new hardware technologies to improve the efficiency of your workflow. Whether you are a wedding /corporate videographer or indie film maker the demands for... Read More

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