Mark Christiansen

Mark Christiansen is the author of After Effects Studio Techniques (Adobe Press). He has created visual effects and animations for feature films including Pirates of the Caribbean 3, The Day After Tomorrow and films by Robert Rodriguez. Past corporate clients include Adobe, Cisco, Sun, Cadence, Seagate, Intel and Medtronic, and broadcast work has appeared on HBO and the History Channel. Mark's roles have included producing, directing, designing and effects supervision, and his solo work has appeared at film festivals including L.A. Shorts Fest.

Long a Contributing Editor at DV Magazine during its heyday, Mark has been contracted as a marketing and technical writer on numerous occasions for Adobe Systems Inc. as well as related companies such as Red Giant Software. He has taught at fxPhd.com and Academy of Art University. His career began at LucasArts Entertainment and he is a Phi Beta Kappa graduate of Pomona College.

Innovation and Cinema 4D Part Two: William Dudley on Virtual Sets
Innovation and Cinema 4D Part One: William Dudley and Peter Pan 360°
Pixel Farm to Launch “Radical New Approach to Tracking” at SIGGRAPH
The Foundry unveils 3D Camera Tracker for After Effects
Is a Visual Effects Guild to Materialize this Decade?
Smoke Gets On Your Mac
Online Post-Production Management with ShotRunner
The Foundry releases Rolling Shutter for After Effects & Nuke
AEScripts.com revamped as a comprehensive script destination site
Training: Visual Effects for Directors
VLC Goes 1.0
Is Nuke the new Shake?
GridIron Flow Ships with Surprise Additions
Tip: Force an After Effects Render to Fail (and Save!) on a Mac
Tip: Force an After Effects Render not to Fail
Convert RED Camera R3D Footage Losslessly, Painlessly, Confidently
NAB 2009 RED Reel Online
Tip: Use More than One Processor with Apple Compressor
Tip: Browse After Effects Scripts as if Looking for Plug-ins
Tip: Play Anything – YouTube included - in QuickTime Mac with Perian
NAB 2009 - The Foundry Demos 3 Upcoming Versions of Nuke
Tip: Preview a Chapter of After Effects Studio Techniques, Gratis
Tip: Measure Drive Performance for Video on a Mac with HD Speed Test
Tip: The Feature Most Missing Until After Effects CS4
Tip: Monkey Extract Painlessly Converts R3D to QuickTime or Sequences
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Tuesday, May 06, 2008

10 (+1) Reasons Scarlet Changes the Game in 2009

Don’t overlook the impact of RED’s entry-level camera, even for pros like you.

RED will not debut Scarlet, its entry-level camera, until early next year, which means that those who are already hype-weary with all things RED are already moving on to a different part of the site. Nontheless, there are solid reasons that Scarlet will change the entire landscape of low-budget digital video, assuming RED can get enough of them into the hands of the public (more about that at the end). Scarlet’s impact will be somewhere between that of the Canon 10D when it debuted and that of the iPhone. Here’s why.

1) 3K native sensor. It’s easy to lose sight of how major a step forward 3,000 pixels of horizontal resolution is for a digital video camera when that camera is debuted alongside an existing 4K camera and a 5K camera due at the same time. So let’s try this with the hype language used by the digital still camera manufacturers: 8.5 megapixels. Per frame. And this is not cheating by calling a 1280 native sensor HD (yes I’m talking to you, HVX-200). 3k means you could cut this image down 35% to HD. You could sneak it onto an IMAX screen without anyone seeing pixilation. It will be years before Sony or Panasonic have anything like this at the price. Speaking of which…

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(12) Comments • Most recent comments by: chucksav, Tim Sassoon, J. Matthew, J. Matthew, Rob, J. Matthew, Mike Curtis, Mark Christiansen, Scott Gentry, glennser, • Permalink


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10 (+1) Reasons Scarlet Changes the Game in 2009
Mark Christiansen | 05/06

Don’t overlook the impact of RED’s entry-level camera, even for pros like you.




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