https://postperspective.com/sarofsky-creates-title-sequence-for-marvels-echo/?utm_source=feedly&utm_medium=rss&utm_campaign=sarofsky-creates-title-sequence-for-marvels-echo I do think too many of these Titles look allike, nut interesting to read a bit about the process.
https://www.youtube.com/watch?v=_1cRnGT7sbE This is video 8 of 8 but covers the full Grading Workflow from Motionvfx Academy.
https://youtu.be/_Licvu0Q7R4?si=V1c3lqs-oGMELs8j From Camera Tim on YouTube.
https://postperspective.com/digital-domains-vfx-for-chafa-and-more-for-marvels-echo/ I really enjoyed Echo, and love that they really worked with the Choctaw people even in the visual effects, and story.
https://www.youtube.com/watch?v=TuCJ0wYp4SE From Jourdan Aldrege at NoFilmSchool, we have a review and this first footage and it looks great, but this camera is still completely ridiculously priced. For a Super 8 Camera to be over $6000 seems a little ridiculous at this point.
https://www.youtube.com/watch?v=utIKv7KNOYo&t=1s OOh this is exciting and it looks just like the X3, but higher resolution and HDR (Well at least more depth than the X3 had I am assuming. The Insta360 X4 has been released and it looks awesome. Honestly the standard lens guards and resolution make this worth it.
https://postperspective.com/behind-the-title-bluebolt-vfx-supervisor-david-scott/ A good interview on a TV VFX Supervisor.
https://www.provideocoalition.com/day-1-nab-2024-interviews-from-the-floor-sunday-april-14-2024 https://www.provideocoalition.com/day-2-pvc-at-nab-2024 https://www.provideocoalition.com/day-3-nab-2024-interviews-from-the-floor-tuesday-april-16-2024 For those of us who couldn't make it to NAB 2024, PVC has some great coverage.
https://www.youtube.com/watch?v=6de4akFiNYM&embeds_referring_euri=https%3A%2F%2Fblog.adobe.com%2F&feature=emb_imp_woyt You can also read about it at the Adobe Blog from Ashley Still. There is some amazing stuff there, but the generative AI certainly scares me a bit. I mean who will shoot stock footage when you can just generate new shots, and since adobe generative AI is trained off stock footage will we see diminishing returns and higher costs (at the least in electricity and processing power, but also in the subscriptions to various AI models that every editor will need access too). I can see many DR spots wanting AI generated B-roll and wanting the editor to foot the subscription bill, so they will basically be getting free b-roll. In some ways I am excited, but still, it is crazy what is going to be happening soon, and what if your internet goes down. And after seeing some on using Sora to make a short, just how badly it responded to film making terms, so it is not going to the panacea we think it is.
Wow, I can't believe how much that Blackmagic Design announced and released this year at NAB. And so much people have been asking for. Now I can only touch on what is important to me, so am skipping a huge amount of what they announced. So lets start with DaVinci Resolve 19, now in Beta, you can see what is new here. So there are a so many new features that will be helpful like Intelligent Media Management: DaVinci Resolve 19 adds intelligent media location management, so that when you are collaborating you can quickly link media to your unique file paths. Now you don’t need to manually relink or search for assets when you work remotely. So you have more time for creativity and less time on file admin! Text Based Timeline Editing and multiple voices in AI Speech to Text Transcription brings it up to Premiere, which is great. There is AI Based Voice Isolation: The AI based voice isolation track FX let’s you remove loud, undesirable sounds from voice recordings. Isolating dialog from background sounds in a recording, you can eliminate everything else from moderate noise to aircraft and explosions leaving only the voice. Voice isolation is perfect for interviews and dialogue recordings from noisy locations. A Built-in Dialogue Leveler: The dialogue leveler track FX in the inspector processes and smoothes dialogue recordings without the need for tedious level adjustments on clip gain or automation curves. Controls include real time scrolling waveform display, focus presets and three process options which allow you to easily achieve natural sounding results. AI Driven Ultra NR Noise Reduction: UltraNR is a new DaVinci Neural Engine driven denoise mode in the Color page’s spatial noise reduction palette. Use it to dramatically reduce digital noise from a frame while maintaining image clarity. Combine with temporal noise reduction for even more effective denoising in images with motion! Composite Mode within Nodes will speed things up: Corrector nodes in the color page node editor now features composite mode. These composite modes will allow you to affect how node values blend into the pipeline without the need of a layer mixer. This means that your node graph looks cleaner and it’s faster and easier to follow the signal flow. The Defocus Background plugin looks to vastly improve background blurs with harder edges to make shots look more filmic and less processed. The game changing Film Look Creator: The new Film Look Creator lets you add cinematic looks that replicate film properties like halation, bloom, grain, flicker, gate weave and vignetting. Adjust exposure in stops and use subtractive saturation, richness and split tone controls to achieve looks usually found on the big screen! And ColorSlice Six Vector Grading: The ColorSlice palette uses subtractive color processes to adjust image color density, saturation and hue, allowing you to produce rich filmic colors and looks. Parameters in each customizable vector slice let you enhance and deepen color without spill, in a way that looks naturally pleasing. This is probably the…