shullfish

Psychology of Color

2012-07-19T08:21:00+00:00

So, I've spent a lot of the last decade thinking, writing, talking and speaking about color. One of the things that I thought would be more clear in talking to creative people about color would be the emotional impact of specific colors.

While colors certainly deliver valuable story and emotional clues, the question among colorists and directors of photography is whether a specific color provides a specific emotional cue that is the same for all people. Most colorists believe that color cues are dependent on context and culture.

Making the Switch: FCP7 to Avid MC6: Part 3

2012-07-12T19:42:00+00:00

In Part 1 we covered the JKL keys, IO keys and zooming in the timeline. In the previous installment, we covered Insert, Overwrite, Replace and the Pen Tool.

In this, the 3rd part of our FCP to Avid thesaurus, we'll translate the delete and shift-delete functionality of FCP; Mark Clip and Marker.

Part 2 of Making the Switch from FCP to Avid MC

2012-07-11T01:40:00+00:00

In Part 1 we covered the JKL keys for playing footage and the IO keys with various modifiers to mark and clear in and out points. We also covered zooming in the timeline. In this installment, we'll cover the Insert, Overwrite and Replace buttons; and the Pen Tool.

Making the Switch from FCP7 to Avid MC6

2012-07-08T01:01:00+00:00

With so many people looking for an NLE to replace FCP7, it's natural that people are turning to Avid.

I've moved between editing systems often, and I can relate to the apprehension and frustration of moving to a new NLE. I often describe this process like learning a new language: you already know how to communicate, but now you need to do it with new words and new grammar.

Isis: Enabling a Pro Collaborative Workflow

2012-06-28T20:15:00+00:00

The ability to work well in a shared, creative community is a key requisite for any professional editing solution used in producing today's feature films and prime time TV shows. As the hands-down leader in the development of integrated media environments for the post production industry, Avid understands this better than most.

Color Correction Practice Game

2012-05-06T03:54:00+00:00

I found a very cool little site that tests your ability to match a specific color based on hue, saturation and brightness. At first, I thought it was just kind of cute, but the more I played it, the more valuable I felt it was to improving your skills as a colorist. Trying to see and match colors is critical to a colorist. Also, as I played numerous iterations of the game, I realized that my eyes must have a specific deficiency in a hue range that is just on the magenta side of red. I was getting perfect and very good scores all the way around the color wheel, but in that specific area I was rarely getting very good scores.

“Courageous” Part Two: on-line

2011-10-24T11:56:00+00:00

The first part of this article dealt with the capture, transcode, preparation and off-line edit of the feature film, "Courageous," for which I was one of three editors. In this article I'll discuss the on-line process which primarily took place at PostWorks New York.The main personnel involved with the on-line editing were Post production Supervisor, Clarke Gallivan, on-line editor George Bunce, colorist Scot Olive, and Joe Beirne, head of all things technical at PostWorks.

The Editing of “Courageous” Part One

2011-10-15T10:35:00+00:00

Last October, I had the rare opportunity to edit a feature film called "Courageous," which is in theaters now. "Courageous" was the number one new movie the weekend it opened (September 30th) and the number four movie over all and it's stayed in the top six for the last three weeks, with its per-theater box office at the number one spot for two weeks, and still at number 2.You can download the trailer here.This article and the follow up will discuss the entire workflow of getting the R3D files from the camera, archiving them, transcoding them, organizing the files, making editing decisions with the director, and eventually, delivering the edit and raw files to PostWorks in NY and following the entire on-line post-production workflow getting the RED files and a Final Cut Pro 7 sequence up on the big screen in over 1,200 theaters nationwide.

FCP X Mission Control Parody

2011-07-27T19:17:00+00:00

When astronauts had a problem out in space, you heard the familiar "Houston, we have a problem" radio call. With FCP X, the problem is in Cupertino. What if Steve Jobs was running NASA?This story was inspired by Oliver Peters and the following really cool web site.http://360vr.com/2011/06/22-discovery-flight-deck-opf_6236/index.html

Proof that FCP X is really just iMovie - directly from Apple

2011-06-26T05:08:00+00:00

If you still have doubts that FCP X is really just iMovie on steroids - and the fact that the first thing it asks to import from IS iMovie and that's not enough of a clue - then take a very close look at the launch screen for FCP X.