Sean is a freelance cameraman based in the UK who works on current affairs, documentary and sport, and does most of that work for the BBC. He recently decided on the Sony PMW-500 [B & H: $24,999.95], in part because several departments at the BBC have standardized on it.
On the face of it the 500 appears little different to any other Sony camera and I think that’s probably the point. Cameramen don’t want buttons being moved from where they’ve got used to having them. Nice additions are six assignable buttons, two of which are on the handle, that can all be given a different function. For example I’ve used one of the switches on the handle as a record button and a couple of the switches on the side for a particular white balance setting. The filter wheel at the front is just for ND as this camera uses electrical colour correction.
Sony announcing three NEX lenses on August 24th? | Dana Wollman | Engadget
It looks more and more like there will be a bunch of announcements from Sony on August 24th. Pictures of the three new NEX (E-mount) lenses; a 55-210mm / F4.5-6.3 zoom lens and fixed 50mm / F1.8 and 24mm / F1.8 just appeared on the web this weekend.
(SR4) Small but important Sony A77 Europe/US difference in video recording?
| SonyAlphaRumors
Reports that the A77 DSLR will be available in European and US versions:
US version is 24,30,60p, European 25 and 50p.This would not be a huge surprise as Sony has done this with the NEX-FS100 camcorder and other cameras as well; though there have been rumors that Sony will announce a firmware update that fixes this for the NEX-FS100 some time in the future.
SonyAlphaRumors has also reported expected availability dates for the NEX-5N, NEX-7 and A77 and A65, but nothing on the NEX-VG20.
The Wrap – Being Eaten Alive by Filmmaking Clutter | John Hess | The Wrap
Scroll down and check the pictures - looks like my office!
Brad Bird: Hollywood isn’t brave enough to copy Pixar process | Geoff Boucher
| LA Times
An interview with director Brad Bird (The Incredibles.)
BB: Everyone in Hollywood says they wish they could do it like Pixar, but they really don’t. There’s no secret at Pixar, but there is a belief in letting people pursue something with passion and take chances, and most of Hollywood, really, doesn’t like that. It’s too scary. Some studio executives will say they love obsessive creators who take risks, but really most of them would rather play it safe.
So How Come ‘The Lone Ranger’ Was Going To Cost $250 Million? 5 Reasons Disney Got Cold Feet | Oliver Lyttelton | IndieWire
In case you cared, a look at the many possible reasons why 'The Lone Ranger' was cancelled, though the article also notes that it's still possible the movie will be made.
movieScope Magazine
A new site that looks interesting, and they've posted a bunch of articles in the last day.
- The Role of the Stereographer | Rinaldo | movieScope
An interview with Stereographer Chris Parks about why his role is essential to successful filmmaking.
- Visions of a 3D Future: London-based Vision3 | Athos Kyrus
| movieScope
Interview with Vision3’s head producer Adam May on why he thinks 3D is here to stay.
- Three Steps to Heaven? Part One | Mick Southworth and Martin McCabe | movieScope
Mick Southworth and Martin McCabe's first installment of a three-part guide to conceiving, making and selling a truly independent film.
- A Little Help From My Friends | Rinaldo | movieScope
Interview with Danae Ringelmann, co-founder of IndieGoGo
- Scott Chambliss – When Worlds Collide | Athos Kyrus | movieScope
Production designer Scott Chambliss interviewed about his work on Cowboys and Aliens
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