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Who said corporate videos have to be boring? Engage your audience by taking a more cinematic approach to corporate videos.
It’s been nearly 10 years since the iPhone first hit shelves. The drastic improvements to the device’s camera are nothing short of remarkable.
Fog machines and hazers are some of the most widely used tricks of the trade on film sets, but they certainly aren’t the only way to give your footage a soft hazy look. Here are a few other ways to pull it off.
The Sony a7S II is one of the most popular mirrorless cameras on the market for video, but it calls for some extra color grading in post to get the footage looking just right. Here’s how you can get great results.
We sat down with colorist Patrick Inhofer to discuss his color grading process and how new colorists can jump into the color industry.
What new photo equipment can we expect to see in the months ahead? Whet your appetite with this roundup of the juiciest camera rumors of 2016.
When attempting to warm up footage in post, many inexperienced colorists will take a wrong turn and wind up giving their footage a sepia look. Here’s how to avoid that issue entirely.
Increasingly, video editors are color grading on laptops and desktops instead of utilizing accurate, calibrated displays. Here’s how to make this reality work for you.
Although many software platforms have the capability to edit and color RAW media natively, sometimes Photoshop might be the best tool for the job.
The creative process can be an absolute grind when trying to develop a film or video project. Let these production videos stoke your creative fires!
We interviewed pro colorist Alexis Van Hurkman and asked him to share how an aspiring colorist can tap into the competitive world of color grading.
Do you need to transcode your AVCHD media when editing in Premiere Pro? Let’s discuss this highly debated topic.