Technicolor. When you say the name it harkens back to the golden age studio era. It brings to mind the larger-than-life stars of the silver-screen, epic production values, and a hyper-vibrant punchy, onslaught of color that overwhelms the eye. While the complicated technological and chemical process of 3-strip Technicolor film is no longer available to filmmakers, we can approximate the signature Technicolor look digitally in DaVinci Resolve. The benefits to using Resolve instead are: you can process it on your own computer rather than at an industrial lab; you have much more control over the final image; you do not have to worry about the hassles of shooting at ASA 5; and you save yourself about a metric ton of film-stock in the process. Let’s get started…
Category: <span>DaVinci Resolve</span>
I just came back from Broadcast Asia 2012, and had a great time. Like I alluded to in my last post, because of it’s intimate nature, I was able to walk right up and have a demo of the new Blackmagic Design Cinema Camera, get a one on one with Avid, attend the Zacuto 2012 shootout, try out an F65, and cap it off with a nice dinner from Cine-Equipment. I also saw the latest gear from Canon, Panasonic, Sony, Sound Devices, Go-Pro, Assimilate, etc., all in the same day.
The state of the film and video tech industry in 2012? Book it. Done. And my feet didn’t even get sore. I wish more trade shows were like this.