When creating video content, it’s important to know some rules to make sure your shoot goes smoothly and looks great. Fundamentals such as the rule of thirds, and the 180° rule are essential to understanding how to shoot better looking video. As you grow, you can always look back at these ideas and build from there.
In this tutorial series Denver Riddle shares with you how to color grade or color correct in Final Cut Pro X using Color Finale on a feature length film. He starts at the basics and works through to advanced grading topics. You can follow along using the same footage from the film Just Let Go!
02:17 Color grading workflow
08:40 Balancing exposure
13:45 Balancing color
20:30 Shot matching
30:32 Hospital scene
34:51 Flashback look
40:14 Modern look
44:27 Expanding color palette
48:57 Day for night look
56:40 Finish grading
Writer, director and producer Mani Ratnam, whose films include Mouna Ragam (1986), Godfatheresque Nayagan (1987) and Bombay (1995), gives a career interview as part of the 2015 London Indian Film Festival. Ratnam talks about his brief stint as a management consultant, bringing a script to life and music in Indian cinema.
A classic con movie with a twist, Trick Shot is a a film about a family of con artists who travel across the country to pay off their son’s gambling debt and get more than they bargain for.
Directed by Evan Kaufmann and shot by Director of Photography Gale Tattersall Trick Shot is the first film to be shot on Canon’s new EOS C300 Mark II Digital Cinema Camera.
Anthony Daniels hosts a behind-the-scenes look at the making of Star Wars.
The Canon EOS-1D X Mark II is Canon’s flagship DSLR camera. It builds substantially upon Canon’s professional top-end DSLR series, which already includes the EOS-1D X, and its Cinema EOS counterpart, the EOS-1D C.
Join Canon U.S.A.’s Technical Advisor Brent Ramsey as he introduces the video features of the EOS-1D X Mark II camera. In this video, he discusses features such as the 4K capture, movie Frames Per Second, resolutions, JPEG frame grabs, Dual Pixel CMOS Autofocus, and more!
‘Adoor: A Journey in Frames’ is a cinematic portrait of the renowned filmmaker Adoor Gopalakrishnan. Considered to be one of the masters of Indian Cinema, Adoor’s creative impulse is shaped by his times, the contemporary politics and the pristine beauty of his home state Kerala. The documentary chronicles the development of the artist by using clips from films that Adoor directed. In fact, film clips form the main narrative of the documentary and their extensive use allows the viewer to get a glimpse of the artistic ouvre, style and genre of films that Adoor directed. The film also chronicles the various awards the filmmaker won and interweaves them with excerpts from interviews with the director, and visuals of his living and working environment.
This is a fine short film directed by Shri. Ashish Saxena shared from youtube.
Cannes Short Film Corner 2015
“The Martyr” is an agonizing saga of the life of a freedom fighter Jagat Singh who has undiminished patriotism. It aims to propound that it’s not only the soldiers who receive martyrdom by losing their lives in the line of duty. All those who stand for a cause that is in the interest of mankind and brotherhood, putting their lives at stake, are worthy martyrs in every way. With their dauntless courage and sense of duty towards their fellow citizens they leave their footprints on the grains of sand for generations to follow. They are the real heroes of a nation free from oblivion’s curse.
|| Team Martyr ||
Director : Ashish Saxena
Producer : Lalit Saxena (Vega Films)
Co-producer : Govind Pershad Saxena (Raju Saxena & His Group)
Cast : Arun Bali ,Gulshan Pandey, Sushant Saxena,Akshay Saxena,Basant, Jolly, Anu Sharma, Prince Deepak etc.
Concept : Mala Govind Saxena
Screenwriter : Ashok Kocchar
Music : A.R Saxena
Singer : Raju Saxena , Oshin Bhatia
Camera :Shiv Shakti
Editor & DI : Maag Fx
Subtitle : Nilanjana CG
Copyrights reserved with : VEGA FILMS
Contact : firstname.lastname@example.org
Rajiv, wife Kavita, and Rajiv’s father, live in an apartment. Rajiv works as an Insurance agent, and travels a lot. Kavita represents a Cosmetic company and works from home, as she cannot leave her paralytic father-in-law alone. Also, a habit that Kavita hates is the manner in which the old man summons her. He mulishly hangs on to a Teaspoon, which he uses to bang on the bedpost to call her. And what’s frustrating is that he never does this when Rajiv is at home. Hence Rajiv cannot understand Kavita’s frustration. A fight over dinner escalates and the resentment is carried forward to the next morning. Series of incidents become ingredients of a Molotov cocktail that lead to a disturbing end.
Directed by – Aban Bharucha Deohans
Kavita : Sree Swara
Father –in-law: Bomi Dotiwala
Friend: Neeru Chopra
Writer & Director: Aban Bharucha Deohans
Music Director: Rajat Dholakia, Rajesh Singh
Sound Designer Bishwadeep Chatterjee
DOP: V. Narayanan
Editor: Sandeep Sethy (AFE)
Production Designers: Madhu Sarkar, Rinku and Bhawani
Costume Designer: Aparna Shah
Executive producer: Rahul Chowdhry
Producer: Kiran Doha’s
‘Pather Panchali’ (Song of the Road), directed by Satyajit Ray was made in 1955, but more than 50 years after its completion, the film continues to resonate today among audiences, filmmakers and critics alike. What is it about the film that allows for its continuing relevance both in India and abroad? ‘Pather Panchali – A Living Resonance’ travels back to locales where the characters within Apu’s world came alive. With interviews from Richard Attenbourough, Sandip Ray, Girish Kasaravalli and many other admirers of Satyajit Ray who try to interpret the film, what emerges is the struggles that went into the making of the film, the nuances behind Ray’s humanist interpretation of the world and his relentless dedication to his art.