Sony UK has Philip Bloom making some movies, and there's a chance to win an NEX-FS100 (though it seems to be limited to people living in Europe):
Sony Professional has teamed up with director Philip Bloom to create the 'Extra.Ordinary' series of short films, looking at how to create amazing footage from everyday events. Click here to access our Extra.Ordinary Facebook hub to see the videos as they go live, and discover the techniques Bloom used to shoot these remarkable films.
Also, enter your own film idea to be in with a chance to win a Sony NEX-FS100EK, and have Philip Bloom make your idea into film reality!
To buy a
There's been some Philip Bloom bashing on the RED forum after his comments about the EPIC. Jim Jannard comes to the rescue:
Anyone who suggests that Philip is being paid by another company to write negatively about his own camera is nuts... and the inference won't be tolerated.
Philip had issues early on and hopefully we have addressed them. Stuff happens.
Sony PMW-F3 Firmware Update v1.2 | Sony
The free version 1.2 firmware update for the PMW-F3 has been released.
Sony's F3 Makes its Feature Debut on The Ghost of Goodnight Lane | Bryant Frazer | Studio Daily
Using the PMW-F3 to shoot a feature:
Those considerations led him to the Sony PMW-F3. When upgraded to the S-LOG-enabling firmware and paired with the CineDeck EX, it allowed footage to be recorded in all flavors of Apple's ProRes codec as well as in 4:4:4 uncompressed. "When we started shooting S-LOG, it was a whole different ball game," Bijan says. "We shot the film using two F3s on as many scenes as we could. I thought about shooting the whole thing uncompressed, but I did a test between ProRes and uncompressed and you couldn't really see a difference. The uncompressed files just ate up so much hard drive space, and it's harder to edit with them because they're so big.
Zeiss CP.2 lenses and Canon C300 & Scarlet | Zeiss | Facebook
Zeiss posted this comment about using CP.2 lenses with the new cameras:
Here some key facts about the angular field of view of our CP.2 lenses on the C300 and RED Scarlet-X. The CP.2 18mm/T3.6 covers 75.9° with the Canon C300. The CP.2 100mm/T2.1 has an angular field of 20.4° when used with a full-frame camera. For cameras with a Super 35 sensor, such as the RED Scarlet-X, this corresponds to a value of 14.2°.
Is 4K in Your Future? | Oliver Peters | TV Technology
Pros, cons and other info of moving to 4K:
There is no single 4K size, since it varies with how it is used and the related aspect ratio. For example, full aperture film 4K is 4096x3112 pixels, while academy aperture 4K is 3656x2664.
Hollywood's big data problem | Yevgeniy Sverdlik | DataCenterDynamics
And something to think about if you move to 4K: Hollywood will soon be buried under the digital data:
Peter Ward, a digital entertainment technology consultant whose client list includes Sony Pictures (the company that produced Fincher’s film), says a film such as The Social Network takes up to about one petabyte of storage space.
One petabyte is about 1/14 of all data generated annually by Large Hadron Collider (LHC) experiments.
8 Reasons Aspiring Film Makers Fail to Ever Make Any Money! | Den Lennie
| F-Stop Academy
Den explains why he thinks most people fail; in some depth, but here's the list:
- Lack of training
- Attempting to do everything yourself
- Poor website
- Poor attitude
- Unrealistic expectations
- Poor organisational skills
- Giving up too soon
- Lack of professionalism