When it comes to post-production, it's usually the visual effects artists who bring impossible characters to life that get all the attention, not the digital artists responsible for color-correction. But watching this breakdown of all the work that goes into professionally color-correcting a L'Oréal Garnier commercial…
This visual effects reel from digital compositor Calvin Romeyn showcases some of the best shots in the most exciting and bloody scenes from Game of Thrones season four. It is fascinating to see which gruesome bits were added in post production. Warning: Major spoilers ahead.
Today's moviegoers are a jaded bunch—it seems to require 3D visuals and advanced audio systems just to get a rise out of them. But it wasn't always this tough in Tinseltown; there was once a time when something as basic as color film was sufficient to blow an audience's collective mind.
Photographer Pelle Cass had a genius idea for his series Selected People: what if he took hundreds of pictures from the same location and then picked out people and animals from each of those pictures and combined them into a single image. It shows the random life of a single setting in one image.
Remember that silly—but rather cool—video in which a guy showed a completely preposterous way to watch 3D movies, using electronic-induced blinking rather than shutter glasses? Of course, the guy wasn't blinking at 60Hz. Here's how they did it: Using 3D projection in post-production.
"Breaking News," the first single from Michael Jackson's forthcoming posthumous album Michael, is pretty awful. But that might not be Michael's fault! While Sony insists the track's legit, Jackson's nephews say that it actually isn't MJ singing at all. Controversy!
What's wrong with that video from last night? Things seems a bit skewed, distorted, and wiggly-jiggly. No, I'm not focused on that redhead in the tiny pink shirt, I'm talking about a fixable issue with CMOS-based video cameras.