Final Cut Pro X colour grading like a pro

ImpulZ LUTs

Do you colour grade footage by looking at your monitor? That is one way of doing it, but it’s not the most accurate or surefire way to ensure the viewers of your video will see the same colours. For colour grading to work across platforms and individual computers even, you need to start from a correct colour rendition. A professional’s video grading workflow therefore starts with colour correction. After this important first step you can start grading, which essentially means you’re creating a mood.

Studio lighting with… mood lights

elgato avea

A tight budget doesn’t go together well with studio lighting. An inexpensive but apparently viable alternative could very well be — hold on to your socks — to mount a couple of mood LED lights, provided you can control their solid colours using your iOS or Android device.

Printers and their RIP; what they look for


What do printers look for in a Raster Image Processor (RIP)? Their first concern seems to be user-friendliness and stability. But the answer may not always be straightforward. Some say it all depends on the application and the printer, the quality of the input files and also the output size.

Print still king for digital natives

Publishing Tech.

Now here’s something out-of-the-ordinary. A new study reveals millennial readers across the US and the UK prefer to read print books and browse book shops. Publishing Technology held a survey polling 2,000 consumers across the US and UK, aged between 18 and 34.

The history of RIPs and how they evolved into DFEs

RIP history PDF

Around 1990 the first RIP was invented. Its developers envisioned a low-cost, easy-to-use system that would allow users to process and print high-quality graphics, including photos, with equipment that doesn’t need to be operated by fully qualified people who are familiar with offset, lithography, etc. A decade later the printing industry started needing something more powerful, something that could load files from various network sources and process them for variable data applications as well as pull information from a database for personalised documents — what we now know as the Digital Front End or DFE.

Sony SpectraLayers Pro 3: painting audio for audio engineers, remix artists and audio-for-video producers

SpectraLayers Pro 3 interface

With the only just released SpectraLayers Pro 3 advanced audio spectrum analyser/editor Sony hasn’t chosen for the easy road of adding bloat to the app. Instead, they’ve made several impressive improvements, speeding up the app considerably, giving it a better, far more user-friendly ad customisable interface and the ability to process 24bit/192kHz files. There are a few new features as well, but the focus of version 3 lies with making SpectraLayers Pro a more efficient, pleasurable audio editing app.