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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.
HitFilm 4 Pro is a hybrid editing and compositing software that could change the video editing industry. Here’s our review of this awesome new program.
For video editors looking for an alternative to their Adobe Creative Cloud subscription, these apps offer similar functionality at a much lower price point.
DCPs are in higher demand than ever before, but they are also far more accessible than ever. You now have several options for creating a full fledged Digital Cinema Package right from your own computer at a fraction of the cost of a post-house.
Let’s wrap our heads around the good, the bad and the ugly of this season’s Premiere Pro updates and issues.