The Woods, a movie partially funded through Kickstarter (the "crowd-funding website) is the first such movie to make it to Sundance.
Mashable: FirstKickstarter-Funded Film Headed to Sundance
Birger Canon-to-Micro4/3 Adaptor Should Work with GH1 and GH2
EOSHD reports that the upcoming adaptor from Birger Engineering that will allow Canon lenses to be mated with the Panasonic AG-AF100 and let the camera control the lenses, should work with the GH1 and GH2, through external power might be required.
EOSHD: Birger Canon to AF100 adapter to also support GH1 and GH2
Extended Power for the Canon T2i
Switronix PowerBase 70 for the T2i is a 70wh 14.8v lithium ion battery pack that provide 6 times the runtime of the Canon T2i's standard battery. It can be mounted under the camera and provide power to two additional 12vdc devices.
Owners of existing PowerBase 70 units can purchase a T2i converter block separately.
Switronix: Powerbase for the Canon T2i
3D Ads and Technology
TVTechnology takes a look at 3D in a couple of articles. Making 3DTV Pay by Jay Ankeney, looks at use of 3D in advertising and finds some excitement, perhaps bolstered by the results of one study that found:
... on average, purchase intent increased from 49 percent to 83 percent when comparing the 2D ad to its 3D version, cued recall went from 68 percent to 83 percent, and ad enjoyment increased from 65 percent to 70 percent in 3D while presence went from 42 percent to 69 percent.
In 3D on a Budget TVfilm professor Chuck Gloman talks about his experience actually shooting in 3D for a low budget student film, and the lessons learned so far, including how to edit the footage:
Julian Guindon, our sophomore Mac expert, researched and found the perfect solution. Using Apple's Final Cut Pro 7, he selected the Channel Offset from the pull down menu and changed the Red Channel to negative fifteen degrees (-15°) which moves the reds to the left. Once applied to the footage, you noticed a distinct cyan and red ghosting of the image. Donning the 3D glasses, your eyes marry the two colors and you see a "3D" image on the screen. Cat extends her "3D" arms as a fan blows her hair and fog rolls by in the background. The number "minus 15" is not an arbitrary setting. In our tests, minus fifteen degrees works best (separation of colors when wearing the glasses) for wider shots when the objects on the screen are farther apart and minus seventeen degrees when seeing things in close-up because of the telephoto's compression. The slight shift is evident in the wide shots and more of a shift is needed when closer.TVTechnology: Making 3DTV Pay
TVTechnology: 3D on a Budget
Magic Bullet Colorista II
Craig Meritz takes a looks at the Colorista II color correction plug-in for Final Cut, After Effects and Premiere. He particularly likes the fact that it works in multiple environments; so you don't have to learn two (or three) ways of doing things!
CircleOfConfusion: Magic Bullet Colorista II