digitalfilms

Making a standard film takes about the same time as birthing a baby – about nine months. While I’ve found that generally to be true, some take longer – a lot longer. And that’s without being some huge sci-fi or superhero extravaganza. I started the edit on a film called Heartbreak in 2013 during the […]

The concept of audio mastering stems from broadcast and vinyl LPs. Radio stations wanted a competitive signal, but also needed to keep levels strong without distortion. Vinyl records required a recording that wouldn’t cause the needle to jump out of the groove when the record was played. Both sectors managed this process through the use […]

Safari Audio (formerly Safari Pedals) has always had an atypical approach to developing audio plugins. The original effects (version 1) supplied vintage-style processing in a UI that usually mimicked the look of guitar pedals. The design of those plugins was topped off with playful 2D graphics, a la vintage Animal Crackers circus packaging. Safari Audio […]

There are plenty of equalizer plugins on the market, but not every one is called a ‘mastering equalizer’. There’s no real difference between a regular equalizer and a mastering equalizer; however, certain features are usually associated with mastering EQs. These include parametric controls, mid/side or left/right processing, and proportional Q. LemurAudio, a new Czech developer,...

I’ve written numerous articles about streamlining Resolve color correction/grading workflows. Sure, at rare times a complex node tree is called for. Add to that tons of YouTube videos about how to get a ‘film look’. The truth is that when actual films were graded by a lab color timer (the film world’s equivalent of a […]