Jonathan Moser Blog Series

ASPECT RATIO: One Filter To Rule Them All

Featured: Jonathan Moser Blog Series

  Part 13 of 24 Aspect Ratio: One Filter To Rule Them All Instant Film/Still Formatting Mask Many Formats To Choose From   Problem: You’re editing a film with a lot of found footage. Some are 16mm films, even 8mm while others are still camera…and to top it off you have to mask anamorphically in

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FRAME RATE: Dreaming Up That Dream Sequence

Featured: Jonathan Moser Blog Series

  Part 12 of 24 Frame Rate: Dreaming Up That Dream Sequence Hallucinatory Time-Altering Effects Are Yours At Light Speed   Problem: You’re editing a dream sequence and need to come up with a visually arresting but quick solution that isn’t too crazy, plus the main character is drunk and you have to create something

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LIGHT LEAK: Great, Contemporary Styling in a Flash…of Light

Featured: Jonathan Moser Blog Series

You have a very stylized show and your producer is stuck on having to use light leaks in the production (just like everyone else is doing) but is undecided on how they should look and wants to be able to change things like speed, color and texture as his  whims dictate or the mood calls for. You hmm and haw and move around nervously and then…

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VIEWFINDER: No More Importing Camera Overlays!

Featured: Jonathan Moser Blog Series

Your show has a ton of shots needing to look like surveillance footage, CCTV or targeting cameras.  Previously you either had to find and import a preexisting grid overlay, or create your own screen elements such as record lights, elapsed time counter or day/date readouts…in addition to battery power level, or you have to create the overlay in After Effects and reimport into your editor…only problem is: You don’t have After Effects. What are you going to do now?

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ACTIVE CAMERA: You Want Fries With That Shake?

Featured: Compositing

You’ve seen it before: the script calls for an earthquake in the middle of a scene and you have to simulate it. Or you have to fake a handheld camera shake. Usually, you’d have to do cumbersome and tedious keyframing and shot repositioning or other equally time-consuming tricks…and even then it might not look quite right and you have to do it again.

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IMPRESSIONIST: Looking Like Nothing’s Looked Before

Featured: Jonathan Moser Blog Series

With a bottom-of-the-barrel budget, a commercial client asks you to quickly create stylized looks and artistic transitions for their production that no one has seen before.  With no animator or graphics artist on staff they’re depending on you to whip something up fast, creative and cheap…big surprise.

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SELECTIVE TINT: Ansel Adams-Inspired Post Magic

Featured: Jonathan Moser Blog Series

Lackluster camerawork and weather problems has taken the life out of your b-roll in an otherwise lively production. These are the shots that set the whole mood. You need to amp it up and create a feeling.

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SATURATION EQ: Punching Up That One Color

Featured: Jonathan Moser Blog Series

You have a surreal scene-and for mood, you want to bring out the blue of the dress your star is wearing while diminishing the other colors in the scene…but a color corrector can’t really give you the control (or the speed) you’re looking for without time-eating tweaking.

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COLOR REPLACE: Paint it Black…or Yellow or Red or…

Featured: Color Correction

Your producer just came into the bay in a snit: the car commercial you’re doing this morning has a glitch…the car that was shot is not the new color scheme your ad is supposed to be hyping, and the commercial is due yesterday. You don’t have a budget for a colorist…you’re on your own.

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