It was the end of W.W.II, the beginning of J. D. Salinger’s literary career, and the golden age of tattoos for men in service. See all the videos in the series here: http://video.vanityfair.com/series/the-decades-series ----------------------------- CLIENT: Vanity Fair DIRECTORS: Nick Hooker, Drew Christie DESIGN: Drew Christie ANIMATION & ILLUSTRATION: Drew Christie & Joe Garber WRITER/NARRATOR: Starlee Kine MUSIC: Spencer Thun SOUND DESIGN: Brendan Baker PRODUCED BY: Susan Hootstein & Framestore ----------------------- https://www.facebook.com/pages/Drew-Christie-Animation-Illustration/137754419667303

• published: 01 Oct 2013
• views: 68919

Cine sin cámara propiamente dicho, sonido e imagen dibujados directamente sobre la película

• published: 17 Oct 2010
• views: 2427

We're making a film about World War II right here in East Anglia! https://www.kickstarter.com/projects/paulcook/magpie Please support Magpie and help us to remember the stories of the East of England during WWII. Video shot using Magic Lantern Raw on Canon 5D Mark III. Software: RawMagic, Da Vinci Resolve, FCPX Lenses: Sigma 50mm 1.4 Art, Canon 70-200mm F4 L USM, Canon 24-70mm F2.8 L USM NOTE: For a much much better tutorial on the workflow head over to Hunter Hampton's video here, he explains stuff much better than I can: https://vimeo.com/67970827 Hunter has also created a great looking LUT that you can apply to your 5D raw footage to get it close to the flat Alexa look. Here's my workflow: To get the files from the camera into an editable format I used the RawMagic > Da Vinci Resolve method. Which seems like the most common way of working with MLRaw MLV files I think. The first step was to take the raw .MLV files from the camera into Rarevision's RawMagic app (£20 from the app store). Settings for this were: Camera Model: Canon EOS 5D Mark III Whitebalance: Autodetect Vertical Stripes Correction: Off Output Type: CInemaDNG DNG Bit Depth: 16 Bit Black Level: Autodetect (this was really important as it makes the difference between getting accurate colour or the horrible pink wash that lots of people have reported seeing.) After this I took the files into Da Vinci Resolve making sure that my chosen preset to be applied to the footage (to flatten it for grading later) - the BMD Film preset - was set as the default Color Space and Gamma setting in the Camera Raw tab - CinemaDNG menu. (This can be found by clicking the settings wheel at the bottom left of Resolve, and then selecting the 'Camera Raw' tab.) This then made all of my clips looks immediately flatter and better for grading later. I then went to the 'Deliver' module in Resolve, and exported my footage in ProRes4444 for editing in FCPX using the following settings: Render timeline as: 'Individual Source Clips' File > Use Source Filename, 'Render Unique Filenames' (Use Unique Filename Prefix) Options > 'Force Sizing to Highest Quality' (ON) > 'Force Debayer resolution to highest quality' (ON) Then I hit 'Add Job to Render Queue' and finally on the other side of the screen hit 'Start Render.' I then edited the ProRes4444 clips in FCPX, did some very minor and basic colour correction and grading inside FCPX (if I had more time I'd roundtrip back to Resolve to grade) and I sharpened each clip a bit (2.5) in FCPX also.

• published: 01 Oct 2014
• views: 4480

It was the end of W.W.II, the beginning of J. D. Salinger’s literary career, and the golden age of tattoos for men in service. See all the videos in the series here: http://video.vanityfair.com/series/the-decades-series ----------------------------- CLIENT: Vanity Fair DIRECTORS: Nick Hooker, Drew Christie DESIGN: Drew Christie ANIMATION & ILLUSTRATION: Drew Christie & Joe Garber WRITER/NARRATOR: Starlee Kine MUSIC: Spencer Thun SOUND DESIGN: Brendan Baker PRODUCED BY: Susan Hootstein & Framestore ----------------------- https://www.facebook.com/pages/Drew-Christie-Animation-Illustration/137754419667303

• published: 01 Oct 2013
• views: 68919

Cine sin cámara propiamente dicho, sonido e imagen dibujados directamente sobre la película

• published: 17 Oct 2010
• views: 2427

We're making a film about World War II right here in East Anglia! https://www.kickstarter.com/projects/paulcook/magpie Please support Magpie and help us to remember the stories of the East of England during WWII. Video shot using Magic Lantern Raw on Canon 5D Mark III. Software: RawMagic, Da Vinci Resolve, FCPX Lenses: Sigma 50mm 1.4 Art, Canon 70-200mm F4 L USM, Canon 24-70mm F2.8 L USM NOTE: For a much much better tutorial on the workflow head over to Hunter Hampton's video here, he explains stuff much better than I can: https://vimeo.com/67970827 Hunter has also created a great looking LUT that you can apply to your 5D raw footage to get it close to the flat Alexa look. Here's my workflow: To get the files from the camera into an editable format I used the RawMagic > Da Vinci Resolve method. Which seems like the most common way of working with MLRaw MLV files I think. The first step was to take the raw .MLV files from the camera into Rarevision's RawMagic app (£20 from the app store). Settings for this were: Camera Model: Canon EOS 5D Mark III Whitebalance: Autodetect Vertical Stripes Correction: Off Output Type: CInemaDNG DNG Bit Depth: 16 Bit Black Level: Autodetect (this was really important as it makes the difference between getting accurate colour or the horrible pink wash that lots of people have reported seeing.) After this I took the files into Da Vinci Resolve making sure that my chosen preset to be applied to the footage (to flatten it for grading later) - the BMD Film preset - was set as the default Color Space and Gamma setting in the Camera Raw tab - CinemaDNG menu. (This can be found by clicking the settings wheel at the bottom left of Resolve, and then selecting the 'Camera Raw' tab.) This then made all of my clips looks immediately flatter and better for grading later. I then went to the 'Deliver' module in Resolve, and exported my footage in ProRes4444 for editing in FCPX using the following settings: Render timeline as: 'Individual Source Clips' File > Use Source Filename, 'Render Unique Filenames' (Use Unique Filename Prefix) Options > 'Force Sizing to Highest Quality' (ON) > 'Force Debayer resolution to highest quality' (ON) Then I hit 'Add Job to Render Queue' and finally on the other side of the screen hit 'Start Render.' I then edited the ProRes4444 clips in FCPX, did some very minor and basic colour correction and grading inside FCPX (if I had more time I'd roundtrip back to Resolve to grade) and I sharpened each clip a bit (2.5) in FCPX also.

• published: 01 Oct 2014
• views: 4480