Fury Rig: From Mad Max Fury Road to Your DSLR

Written by Jose Antunes

June 26, 2015

Although many dismiss DSLRs as serious filmmaking tools, producers of movies like Mad Max: Fury Road use DSLRs as...

TLCI and Camera Color: What a Difference a Prism Block Makes

Written by Art Adams

May 15, 2015

TLCI’s developer says prism cameras and single sensor cameras respond to color in the same way. Thanks to Panasonic,...

In a Parallel Universe, AJA’s Cion is Amazing

Written by Art Adams

April 1, 2015

RedShark News lives in a world where the AJA Cion is the best thing since sliced bread. In this...

The TLCI Color Rendering Index: Does It Really Work? Color Me Skeptical

Written by Art Adams

March 17, 2015

CRI is meaningless when it comes to measuring LED or fluorescent lights. TLCI hopes to replace CRI in the...

After Effects and Alexa – The Expurgated Version

Written by Chris Zwar

August 11, 2014

OK so you’ve got some Arri Alexa footage in Log C format, and it looks funny in After Effects....

After Effects and Alexa – Part 2

Written by Chris Zwar

August 11, 2014

The Arri Alexa is a hugely popular digital camera, but it records footage in a proprietary Arri colourspace called...

After Effects and Alexa – Part 1

Written by Chris Zwar

August 10, 2014

The Arri Alexa is a hugely popular digital camera, but it records footage in a proprietary Arri colourspace called...