Struggling with post production or your workflow? Please use the links below to learn more about postproduction and workflow techniques.

• Catalyst Browse Gets a major update.
• Why Doesn’t My Footage Grade Well?
• Updates for Catalyst Browse and Resolve 18.5 Beta
• Catalyst Browse Invalid Licence Issues
• Use GyroFlow to stabilise Sony (and other camera) footage.
• XAVC-I or XAVC-L which to choose?
• HELP! There is banding in my footage – or is there?
• Adobe to drop colour managament by default.
• More on Adobe’s new color managed workflow.
• New SxS/AXS drivers and New Raw Viewer
• Timecode doesn’t synchronise anything!!!
• Premiere Pro 2022 and Issues With S-Log3 – It’s Not A Bug, It’s A Feature!
• Arri Look LUT updated
• DaVinci resolve Frame Rendering Issue and XAVC
• XAVC-I v ProResHQ, multi-generation test.
• Catalyst BRowse and catalyst Prepare Updated.
• Raw Isn’t Magic. With the right tools Log does it too.
• Changing the FX6’s base look in Custom Mode using LUT’s
• Don’t Upgrade FCP-X or OSX!
• How To Live Stream With The Sony PXW-Z90 and NX80.
• ProResRaw Now In Adobe Creative Cloud Mac Versions!
• ProResRaw for Windows Released (beta)
• Live Streaming From an FS5
• Streaming and Live Feeds.
• Are LUT’s Killing Creativity And Eroding Skills?
• New s709 LUT For The FX6 and FX9 That’s Less Green Than The Sony LUT.
• Why Does S-Log Recorded Internally Look Different To S-Log Recorded On An External Recorder?
• Don’t Convert Raw to ProRes Before You Do Your recording.
• DaVinci Resolve 16.1.2 Released.
• Catalyst Browse and Prepare V2019.2 Released. Includes support for FX9 Image STABILISATION.
• Experimental s709 LUT Specifically for the FX9.
• If you have an AXS-AR1, you need to update the firmware.
• Atomos release new Neon range of HDR monitors with Dolby Vision.
• Using different gamuts when shooting raw with the PXW-FS5
• Sony’s Internal Recording Levels Are Correct.
• Windows 10 and removable media.
• New Training Videos For DaVinci Resolve.
• Recovering footage from formatted cards.
• Do the images from my Sony camera have to look the way they do?
• What the hell is gamma anyway – video online now.
• Black and White LUT set.
• Adobe still can’t get XAVC levels right!
• ProRes Raw Over Exposure Magic Tricks – It’s all smoke and mirrors!
• ProRes Raw Webinar – How to use ProRes Raw with the FS5 and FS7
• ProRes Raw and Atomos Inferno and Sumo – BIG deal for the FS5 and FS7!!
• DaVinci Resolve, ACES and the “Sony Raw” input transform.
• Banding in your footage. What Causes It, is it even there?
• Can DaVinci Resolve steal the edit market from Adobe and Apple.
• Use the cameras media check to help ensure you don’t get file problems.
• How can 16 bit X-OCN deliver smaller files than 10 bit XAVC-I?
• Sony Venice. Dual ISO’s, 1 stop ND’s and Grading via Metadata.
• Scene files for the Sony PXW-FS7M2.
• More on frame rate choices for todays video productions.
• Adjusting the Color Matrix
• SD Cards – how long do they last?
• Why is exposing log brightly beneficial?
• Downloadable User Guides For The PXW-FS7 and FS7M2
• What is HLG and what is it supposed to be used for?
• 2020 Color Clips from the PXW-FS5 Crash Adobe Premiere CC 2017-1
• Want to shoot direct to HDR with the PXW-FS7, PMW-F5 and F55?
• Why you need to sort out your post production monitoring!
• Thinking about frame rates.
• Why do I always shoot at 800 EI (FS7 and F5)?
• Will a bigger recording Gamut give me more picture information?
• Raw and the PXW-FS5
• San Francisco/Bay Area Private Workshop, 4th of March, 2 places left.
• What is XOCN? Why is it so good, why do we need it?
• Notes on Timecode and Timecode Sync for cinematographers, part 2.
• Notes on Timecode and Timecode Sync for cinematographers.
• Incorrect Lumetri Scope Scales and incorrect S-Log range scaling in Adobe Premiere.
• Sony Memory Media Utility.
• Big Update for Sony Raw Viewer.
• Latest Apple Pro Video Formats Update Adds MXF Playback.
• Deeper Understanding Of Log Gamma. Experiments with a Waveform Display.
• Why is log sometimes hard to grade?
• From a good looking image to a stylised look. It’s not easy!
• Tales of exposure from the grading suite.
• What is “Exposure”
• Notes on Timecode sync with two cameras.
• Using S-log2 and S-Log3 from the A7S (or any Alpha camera) in post production.
• How to create a user LUT for the PMW-F5 or F55 in Resolve (or other grading software).
• Flicker, jaggies and moire in down converted 4K.
• Are You Screwing Up Your Footage In Resolve?
• ACES: Try it, it might make your life simpler!
• It’s all in the grade!
• ACES – What’s it all about, do I need to worry about it?