LUT’s are a very powerful tool in your workflow, from on-set monitoring, through sharing and collaboration, but they shouldn’t be used blindly, and should always be used in concert with additional color correction, because every shot is different and needs it’s own settings.
Learn about staging and camera motion from watching “Raiders of The Lost Ark” in black and white and without sound on Steven Soderbergh’s website Extension 765.
I often get asked since the cost of making films has decreased due to digital tools, why I bother to make short films instead of…
I just finished reading an incredible interview by Steve Hullfish with “12 Years a Slave” editor Joe Walker. His caption “An interview that turned into a must-read master class in editing.” Is not hyperbole. If you’re an editor go read this immediately. If you’re a director, go read this immediately. If you’re interested in the art of film, go read this immediately. You will learn. You will be inspired.
Not every visual effect has to involve a super-hero, space-ship, or an alien. Sometimes it’s as simple as changing the color of the sky for added effect, removing an unwanted logo, tracking in a mobile phone or TV screen, or adding set dressing that a production couldn’t otherwise afford.
Stephen Garret of Jump Cut (formerly Kinetic) breaks down the guidelines and tropes of successful trailer cutting in his article First Impressions for Filmmaker Magazine.