Blog
Articles on filmmaking technique, production planning, and industry knowledge.
Showing 12 of 26 posts (Page 2 of 3)
ProRes vs. BRAW vs. ARRIRAW: Which Acquisition Format Is Right for Your Production?
A technical and practical comparison of ProRes, Blackmagic RAW, and ARRIRAW acquisition formats covering data rates, storage requirements, color grading latitude, NLE compatibility, and the real workflow implications for different production scales.
LUFS vs. RMS: What's the Difference and Which Number Should You Hand to a Mixer?
RMS measures average signal power in a time window. LUFS measures perceptual loudness according to a weighted standard aligned with how human hearing works. Broadcast and streaming platforms use LUFS targets, not RMS. Here is how to read both numbers and which one to specify when handing off to a mixer.
Timecode Drift: Why Your Audio and Picture Fall Out of Sync Over a Long Recording
Every timecode generator uses a crystal oscillator with a small frequency tolerance measured in parts per million. Over a long recording day, that tolerance accumulates into real frames of drift between your audio and picture. Here is the math and the on-set fix.
DaVinci Resolve vs. Premiere Pro for Indie Film: A Post Workflow Comparison
A direct comparison of DaVinci Resolve Studio and Adobe Premiere Pro for indie film post-production, covering color grading capability, BRAW and ARRIRAW support, audio tools, cost structure, and the real workflow implications for each.
Sample Rates in Film and Audio Post: 48kHz vs. 96kHz and When Higher Actually Matters
Covers the Nyquist theorem in plain language, why broadcast requires 48kHz, when 96kHz or 192kHz actually matters and when it's placebo, and the storage implications of each choice for film and television audio.
Closed Captions and Subtitles for Film Delivery: Formats, Standards, and Mistakes to Avoid
Covers SRT vs. VTT vs. SBV vs. TTML -- which platforms require which format, how to convert without losing timing accuracy, and the compliance requirements for Netflix, Amazon, and broadcast delivery.
Film Reel vs. Digital: What the Footage-to-Runtime Math Tells Us About the End of Celluloid
Uses the film reel calculator to ground the economics of shooting on celluloid -- cost per foot, runtime, processing, scanning -- compared to equivalent digital workflows. An educational post with strong historical authority.
Timecode in Film Production: How It Works and Why It Matters for Your Edit
Explains drop-frame vs. non-drop-frame timecode, LTC vs. MTC, jam sync, and why incorrect timecode causes expensive problems in post. Includes a frame rate and timecode compatibility reference table.
Music and Picture Lock: How to Sync Score to Your Edit Without Losing Your Mind
Covers the practical workflow of working with a composer after picture lock -- spotting session process, temp music vs. original score, tempo mapping to the timeline, and how to communicate rhythm and emotional arc without a music theory degree.
LUFS, dBFS, and Loudness Normalization: What Filmmakers Need to Know
Explains the difference between LUFS, dBFS, and peak level -- why streaming platforms normalize loudness, what it means for your mix, how to meter in your DAW, and how to hit Netflix and broadcast specs without squashing dynamics.
Post-Production Timeline: How Long Does It Really Take to Finish an Indie Feature?
A realistic timeline breakdown for no-budget, low-budget, and mid-budget indie features -- covering assembly, rough cut, picture lock, sound design, color, VFX, deliverables, and DCP creation with real benchmark ranges.
Audio Delivery Standards for Film and Television: A Complete Format Guide
Covers broadcast, streaming, theatrical, and festival delivery specs -- sample rate, bit depth, channel configuration, LUFS targets, and true peak limits per platform. The one-stop reference before mastering.