When working in a multi-mic scenario, something with the flexibility of the Sound Devices 633 - an audio mixer and recorder that can handle up to six audio inputs - is key to your success. Traditional camcorders offer two isolated channels of audio input. While this may work fine for two mics, the task gets tougher when three or more mics are in the mix.

Our scene file blogs have always been some of our most popular posts, and our specialists get many questions regarding how to create matching scene files for different cameras. Last year I actually wrote an article for HDVideoPro called "Making the Match," where I discussed step-by-step how I go about doing this. In that article, I used a Sony F3 and an FS700 as examples, but recently we received an interesting inquiry on how to match a Sony F55 with a Canon C500.

Apple just released Final Cut Pro 10.1.2, which has a host of new features including improved media management tools, Rec709 LUT support for Log footage (Arri, Sony, Canon, and Blackmagic cameras), 3DLUT support for the Arri AMIRA, and support for their new ProRes 4444 XQ codec.

With today's latest technologies, "4K" has become more than a buzzword and interest in acquiring in 4K is growing. Recently, I wrote an article for ProductionHub's new 4KHUB discussing my experience with the Producers Guild of America and how they wanted to understand the deeper implications of a 4K workflow. To make things clearer, I touched on data space requirements, recording simultaneously in 4K and HD, LUTs, external recorders, and more.

Jem Schofield, of theC47, has presented a number of popular classes in our NY Learning Point, and now he's bringing that expertise to Canon's newest tutorial series on the C100. In his latest video tutorial, Jem takes an in-depth look at a topic that we often get questions about, specifically how to properly use a waveform monitor. He also discusses gamma and custom Picture Profiles, so make sure to watch the full video above.

Little by little, update by update, Blackmagic Design has been adding editing features to their popular DaVinci Resolve color grading software. With the newest version, Resolve 11, they've fully committed to providing a single platform from which users can color correct, edit, finish, and deliver.

One of the most popular blog posts I've written was a guide to Applying LUTs to Log Footage in various NLEs. Since I posted it, a lot has changed in the popular NLEs; the tools used to apply Look Up Tables are now included in many of them, and they are generally better than ever. Here is a break down of how to apply LUTs to Log footage (or any footage) in Final Cut Pro X, Adobe Premiere Pro CC, Avid Media Composer 7, and Resolve 10

We've discussed many of the advantages of shooting Log C on the ALEXA before, but often one of the biggest roadblocks is the preconceived notion of an overly complex workflow. While this can be true if you need to grade the majority of your footage, often times (especially if you nail your exposure), a simple translation is all that is necessary.

DaVinci Resolve has become one of the most popular tools for color grading and creating dailies, and now Blackmagic Design has released a pretty major upgrade to the program: DaVinci Resolve 10.