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April 24th, 2014
Final Cut : Color Home
RSSNEWS:
Sony Releases v4.0 Firmware and Extends 0% Financing
Sony F5 and F55 cameras are quickly becoming the preferred cameras on a wide area of episodic and unscripted television productions nationwide. Helping to fuel this growing demand, earlier this month Sony released version 4.0 firmware for the F5 and F55 large sensor cameras and the AXS-R5 recorder. Committed to adding value and future-proofing the Sony CineAlta cameras, the version 4.0 release includes many key upgrades including User Generated 3D LUT's via RAW VIEWER or DaVinci Resolve, Picture Cache, User Customizable Menu, and includes an SGAMUT3 release, providing a wider color space than SGAMUT3.CINE.
published 22 hours ago   read more
Bacon Crazed AlphaDogs Spotted At Blue Ribbon Bacon Festival
Just mentioning the word bacon leaves most people’s mouth watering and conjures up endless images of how to best enjoy this highly versatile and tasty snack. In the feature-length reality-style mockumentary "State Of Bacon," filmmaker Jason Cook takes audiences inside the fun and wacky Blue Ribbon Bacon Festival that brings out some of the most bacon-crazed Americans you will ever meet. Held annually in Des Moines, IA the festival has doubled in size every year with tickets selling out in just minutes.
published 1 day ago   read more
Facilis TerraBlock Helps CODA Keep Pace with Television Editorial Demands
Australia-based CODA provides an eclectic range of services spanning production, post, multi-system edit solutions for hire and audio finishing for high-profile clients like Network 7, Shine, Freehand, Eyeworks and Southern Star Entertainment. CODA’s team of talented creatives and rental kit have played an integral role in the creation of popular shows like “Dancing with the Stars Australia” and “Amazing Race Australia.”
published 1 day ago   read more
Company 3 London Names John Quartel as Technical Director
Award-winning post house Company 3, a Deluxe Media Creative Services company, today announced the appointment of renowned color scientist John Quartel to the position of technical director of its London location.
published 2 days ago   read more
Carbon VFX Welcomes Marlo Baird Kinsey as West Coast Executive Producer
Carbon VFX announces the addition of Marlo Baird Kinsey as Executive Producer in Los Angeles. Marlo’s unique blend of VFX post-production and editorial experience make her well positioned to lead the production department of the creative studio’s Los Angeles office. Marlo joins Carbon’s talented team of artists, graphic designers and producers from her most recent production role at The Mission.
published 2 days ago   read more
MPC NY unveils first in-house animated short film “Sunny and Steve” for Easter
"Meet Sunny and Steve," the charming characters brought to life by MPC NY in a light-hearted short film written and directed under one roof by in-house talent Bill Dorais and Ty Coyle. Born out of MPC’s love for storytelling, the passion project quickly turned into an ongoing creative platform to collaborate, experiment, and develop talent within the MPC NY character design team.
published 6 days ago   read more
Calabash Animation Heads Back To The Office For Latest Lucky Charms Spot Targeting Adults
“Cubicle” Latest Ad In Brand’s Recent Efforts Aimed At Older Cereal Lovers
Lucky Charms are definitely not just for kids. That’s a point made in a series of recent spots targeting adults consumers of the beloved cereal – the latest is “Cubicle” (:15), created by agency Saatchi & Saatchi, New York and featuring animation from the award-winning studio Calabash Animation.
published 7 days ago   read more
Bonfire Labs Continues Growth With New Top Level Hires
Creative Content Agency Adds Executive Producer Tim Pries, Producer John Hunt and Designer Judy Leung
Bonfire Labs has continued to grow its in-house capabilities, adding three new hires to accommodate burgeoning client demand and enhance its staff infrastructure. Executive Producer Tim Pries, Producer John Hunt and Designer Judy Leung have all joined Bonfire, adding experience, creativity and talent to an already impressive Bonfire team.
published 1 week ago   read more
2G Digital, Burbank, and DuArt, New York, Form Strategic Partnership
Post Facilities to Work Cooperatively to Deliver Digital Supply Chain and Traditional Post Services to Clients Nationwide.
2G Digital, a Burbank post production facility specializing in digital supply chain services, and DuArt, a New York facility offering comprehensive post production services for video, digital media and film, have entered into a strategic partnership that will allow both companies to expand their geographic reach and add new services.
published 1 week ago   read more
Camera Corps Q3 Takes Centre stage at 2014 NAB Show
Camera Corps reports a swarm of interest in its new Q3 compact robotic head among television production creatives attending the 2014 National Association of Broadcasters' Show in Las Vegas, April 7-10. Five years on from the launch of the multiple-award-winning Q-Ball, Q3 is completely redesigned to offer more features, greater sensitivity and higher image quality.
published 1 week ago   read more


RSSTUTORIALS:
Apple Color
Euphonix MC Color Control Panel
Euphonix MC Color Control PanelIn this article Walter Biscardi, Jr. tries out the new MC Color controller from Euphonix.
Review by Walter Biscardi on 02/23/2010
Apple Color
Tangent Wave Control Panel Review
Tangent Wave Control Panel ReviewIn this article Walter Biscardi, Jr. takes an in depth look at the new Tangent Wave Control Panel.
Review by Walter Biscardi on 10/27/2009
Apple Color
Final Cut Pro: Tracking Vignettes
Final Cut Pro: Tracking VignettesIn this Apple Color tutorial, Richard Harrington along with color expert Robbie Carman teaches how to use tracking to have vignettes follow a person around the screen to simulate a spotlight effect.
Tutorial, Video Tutorial by Richard Harrington on 02/23/2009
Apple Color
Final Cut Pro: Saturation Curves in Color
Final Cut Pro: Saturation Curves in ColorIn this Apple Color tutorial, Richard Harrington along with color expert Robbie Carman create the Pleasantville effect in Apple Color. Using the secondary curves, specifically the saturation curve, to isolate just the yellow in a taxi cab everything else in the video clip can then be desaturated to create this popular effect.
Tutorial, Video Tutorial by Richard Harrington on 02/16/2009
Apple Color
Custom Shapes in Color - Final Cut Help
Custom Shapes in Color - Final Cut HelpIn this Apple Color tutorial Richard Harrington and guest Robbie Carman will use user defined shapes to form vinettes to perform a secondary color correction. Learn about where primary and secondary color correction really occurs in Apple Color and other tips and tricks.
Tutorial, Video Tutorial by Richard Harrington on 01/19/2009
Apple Color
One Team. Three Network Shows. Every Week.
One Team. Three Network Shows. Every Week.Creative Cow Contributing Editor Zed Saeed has helped create pioneering Final Cut Pro workflows for major feature films and episodic TV production. This year, he and the team at DigitalFilm Tree faced their biggest challenge yet: posting 3 major shows, for 3 different networks, every week -- with the same small team that used to do just one. How do they do it? World-class workflow management.
Feature by Zed Saeed on 12/23/2008
Apple Color
Apple Color: Building Vignettes in the ColorFX Room
Apple Color: Building Vignettes in the ColorFX RoomApple Color offers a variety of tools for custom effects, each with different features. Answering a commonly asked question, broadcast editor and Creative Cow leader Walter Biscardi shows you how to take advantage Colors node-based compositing to create a vignette in the ColorFX room.
Tutorial, Video Tutorial by Walter Biscardi on 09/24/2007
Apple Color
Apple Color: Auto Balance Feature
Apple Color: Auto Balance FeatureIn this short Apple Color video tutorial, Walter Biscardi demonstrates the auto balance feature in color. This is a basic level tutorial.
Tutorial, Video Tutorial by Walter Biscardi on 07/09/2007
Apple Color
Should you use Final Cut Pro or Color?
Should you use Final Cut Pro or Color?Should you use Final Cut Pro or Color? In this short video tutorial, Walter Biscardi demonstrates some of the differences and why you might use one program over the other. This is a basic level tutorial.
Tutorial, Video Tutorial by Walter Biscardi on 06/25/2007
Apple Color
Apple Color: First Time You Launch
Apple Color: First Time You LaunchIn this Apple Color video tutorial, Walter Biscardi demonstrates everything you need to know the first time you launch Apple Color. This is a basic level tutorial.
Tutorial, Video Tutorial by Walter Biscardi on 06/19/2007




RSSTHREADS:
Force Conform AVID Speed Changes to DPX in Resolve for 2K delivery.
by Stephen Arthur in the DaVinci Resolve Forum
Hey All, we are going to be doing a 2K delivery from Resolve (we are working on Full version 10, Colorist will have full version 10 or 11). Our workflow for VFX has been: 1 Final DPX brought into Resolve and exported as MXF 2 Cut the MXF into AVID...
11 minutes ago   read more
Re: Trying to create the allusion
by Simon Ubsdell in the Apple Motion Forum
This may not be what you're looking for, it's so hard to tell from the low-res framegrab: If it's helpful here's a link to my Motion project: http://tokyo-uk.com/downloads/Label.motn.zip I made a smaller version of the main shape to sit over the top of the main one and then I used...
15 minutes ago   read more
Re: .DNG files from 7D RAW looks horrible in Lite
by Warren Eig in the DaVinci Resolve Forum
[Marc Wielage] "Whatever it is, it looks crappy to me." Marc, I guess you haven't seen the footage from the newly released Magic Lantern firmware for the 5D Mark iii. Prior to this the camera could only shoot RAW stills. This is a whole different ball game. Now would it...
1 hour ago   read more
Re: Problem transferring color grades to shorter sequence
by Joseph Owens in the Apple Color Forum
[Jocelyn Ford] " Any advice? Do we need to remove the filter first? Thanks in advance!" People still using COLOR? Apple COLOR won't know anything about the Nattress Standards Conversion, so it is a bit irrelevant. All I can add about filters in general is that most of them are...
2 hours ago   read more
Re: Analog & Digital color correction hardware?
by Rick Turners in the DaVinci Resolve Forum
You can get a 2009 lustre for around 30k, a 2010 nucoda for around 40k. Anything older/cheaper would be worse than building a macpro based davinci....
4 hours ago   read more
Analog & Digital color correction hardware?
by Jared Gardner in the DaVinci Resolve Forum
Sorry if this is the wrong forum. I'm an audio engineer and a lot of times we go for older, used hardware units for FX processing. Sometimes a software plugin is OK, but hardware (even if it's not analog) is usually a bit better for various reasons. This makes me...
8 hours ago   read more


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