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Slugline. Simple, elegant screenwriting.

Red Giant Color Suite, with Magic Bullet Looks 2.5 and Colorista II

  • Sony Alpha a7S Compact Interchangeable Lens Digital Camera
    Sony Alpha a7S Compact Interchangeable Lens Digital Camera
  • Panasonic LUMIX DMC-GH4KBODY 16.05MP Digital Single Lens Mirrorless Camera with 4K Cinematic Video (Body Only)
    Panasonic LUMIX DMC-GH4KBODY 16.05MP Digital Single Lens Mirrorless Camera with 4K Cinematic Video (Body Only)
  • TASCAM DR-100mkII 2-Channel Portable Digital Recorder
    TASCAM DR-100mkII 2-Channel Portable Digital Recorder
  • The DV Rebel's Guide: An All-Digital Approach to Making Killer Action Movies on the Cheap (Peachpit)
    The DV Rebel's Guide: An All-Digital Approach to Making Killer Action Movies on the Cheap (Peachpit)
    by Stu Maschwitz

Entries in Color (105)


Bias in the Negative

An interesting article in the Washington Post explores how we’re seeing dark skin in movies more accurately—and beautifully—than ever before.

As “12 Years a Slave” director Steve McQueen said in Toronto after the film’s premiere there, “I remember growing up and seeing Sidney Poitier sweating next to Rod Steiger in ‘In the Heat of the Night,’ and obviously [that was because] it’s very hot in the South. But also he was sweating because he had tons of light thrown on him, because the film stock wasn’t sensitive enough for black skin.”

I saw 12 Years a Slave at the Mill Valley Film Festival, with McQueen in attendance, and it was a profound experience. Everything about the film is superb, including (35mm film) cinematography by Sean Bobbitt (Shame, The Place Beyond the Pines) and color by Tom Poole (Drive, The Grey) at Company 3.

The movie left me with a deep sense of how recent my country’s terrible history of slavery truly is. This article brings that reality home in an unexpected way, by pointing out that it’s only in this decade that we’ve even been able to properly present African American skin in a movie theater.

We are a fledgling civilization, still figuring out the most basic stuff.


M is for Marmalade—Watch and Vote!

Warning! This is a horror short. It’s all scary and stuff. If you are my mom, don’t watch.

I did the color grading for this creepy, wonderful horror short by Gus Krieger. It’s an entry in the ABC’s of Death 2 search for the 26th director competition—if Gus wins, his short will be included in the feature film, a sequel to the orginal ABC’s of Death.

The winner is chosen by Facebook “Likes” (because what could be more horrific than that?), so head on over and put a thumb on it!

Further warning: Gus has given me the OK to write about the process of coloring his film, so watch for that in coming weeks.


Prolost Presets for Lightroom

As those of you who watched my Lightroom User Group presentation learned, I use a system of graduated presets for processing my photos in Adobe Lightroom. I’ve essentially used these presets to redesign the Lightroom user interface—instead of using sliders to specify adjustments, the presets allow me to see and react to visual choices, tapping into some of the same instincts I’ve developed behind the lens.

I quietly offered the presets to early adopters, but now it’s time to properly release them. The set of over 400 presets is available now for only $19.99. They work on Mac and Windows, and require Lightroom 4 or higher.

This is version 1.5 of the presets. I’ve tweaked a few things and added some new presets, including 5 extremely useful Color Treatment presets, the Prolost Technical group, and a Red Scale preset in Prolost Creative. If you bought the presets before as an early adopter, you probably don’t need to upgrade, but doing so is a lovely way to support future offering like this.


Digital Bolex Sample Raw Frames

Canon 50mm Corrected

Elle and Joe have posted the first raw sample frames from the Digital Bolex.

On Wednesday we eagerly waited in the conference room as Mike had the guys put some final firmware updates on the camera. They brought it in, the sides were taken off, but the display was on. This was the first time we could hold the camera and see the display live. It was an amazing experience. This thing we had been dreaming about was finally working in our hands.

Read more here and download the samples for yourself. If I read the post correctly, these were not captured at 24fps, but they are raw frames from the production sensor.

Congrats guys. Like you say, these images aren’t perfect (there’s a bit of a grid pattern in the Elitar frame, for example), but holy crap, you made a camera.

Here are the three sample DNG frames at both the Lightroom 5 default settings (remember, there’s no such thing as “straight out of the camera” with raw) and color graded by me using Lightroom 5. Click to see the full-res images.

Canon 50mm Lightroom 5 DefaultsElitar Lightroom 5 DefaultsElitar CorrectedPizar Lightroom 5 DefaultsPizar Corrected