Another film shot on the C300, this one by Mark Moreve and others:
This film is a Test of the Canon C300 camera using Canon ef lenses.
We filmed different scenes around Chelsea in London to see how the C300 dealt with the varied conditions offered on a London street.
[...]It performed very well holding detail in highlights and also shadows where we didn't expect and because of the quality of the LCD screen and viewfinder it is much easier to operate.
The Camera was set to 1920 x 1080 @ 50m/bs - 25p we used the Normal 3 Gamma curve & Matrix.
French film director Pierre Deschamps is amazed by Canon’s EOS C300 cinema camera | Canon
He may be amazed, but it's a pretty short article...with a short video:
“I wanted to shoot as neutral as possible,” says Deschamps. “As one guy shooting, it’s very important not to complicate things…it’s easier to handle it in post afterwards.” To test the camera in the daylight he shot into the sun with the Fisheye zoom and captured a quick sequence of his daughter eating an ice-cream using the EF70-200mm f/2.8L IS II USM at various focal lengths. “The benefit of the C300 is that the built-in ND filters enable you to get the cinematic depth-of-field,” he says.
Why 4K Jan | Oliver Peters | digitalfilms
A look at 4K sensors, cameras and post:
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 4096 x 3112 pixels, while academy aperture 4K is 3656 x 2664. The RED One and EPIC use several different frame sizes. Most displays use the Quad HD standard of 3840 x 2160 (a multiple of 1920 x 1080) while the Digital Cinema Projection standard is 4096 x 2160 for 4K and 2048 x 1080 for 2K. The DCP standard is a “container” specification, which means the 2.40:1 or 1.85:1 film aspects are fit within these dimensions and the difference padded with black pixels.
Bunim/Murray Productions Replaces Final Cut with Avid for All 2012 Shows
| Beth Marchant | Studio Daily
The surprise for me isn't so much that they switched away from Final Cut, but that they chose Avid over Adobe (though that's not really a surprise either!):
Dealer Key Code Media helped Bunim/Murray complete the new, or more aptly, renewed relationship with Avid. In a prepared statement, Bunim/Murray's senior vice president of post production Mark Raudonis said the decision to switch came after considering the sheer volume of content the facility generates, as well as long-term workflow needs. “As we talked with Avid, it was clear that the company has really forged ahead since we worked with them years ago," he said. "Their commitment to the needs of their professional customers, like us, is clear. And, with the introduction of Media Composer 6, they really raised the bar and have a vision for the future that makes them the right choice for our business.”
Using FCPX on long format broadcast productions | FCP.co
A Q&A with Dustin Hoye, the Lead Editor/Developer at Sour Squirrel Studios:
FCP.co: Has Final Cut Pro X been stable?
I am very impressed with the 1.2 update- proves to be very stable for a version 1.0 piece of software. Uses RAM more like After Effects, so a minimum of 16 GB of ram is necessary, I think. I personally use the full 32 GB in my 6-core, so I can run Motion 5 and After Effects, Compressor, Photoshop, Illustrator, etc. at the same time. Also, who needs to save or remember to save or have auto-save crashing your projects?
Yes, FCP X crashes, sometimes a lot, depending on what you are trying to force it to do- But, every time you open it back up, no matter what I have been in the middle of, my project is EXACTLY where I left it every time.
Final Cut Pro X Advanced Tutorial - Media Management using Disk Images
| Dan Allen | YouTube
Using Disk Images to manage your media. A bit of a pain if you ask me, but one way to do it:
FCPX Advanced Tutorial. in this hD Voice Tutorial for Apple Final Cut Pro 10, we learn some princiciples and problems of media management and using final cuts open events and project system which shows us all the events we have. This enables us to use media from other events regardless of the project you are wokrign with, but what if we don't want people to see the projects and events.
Love Like Hers and colour grading (Video Blog) | Danny Lacey | YouTube
Danny shot his film "Love Like Hers" on Super16mm, and here he live blogs his trip to visit the color grading shop. The grading is done on DaVinci Resolve, and there's a shot interview with John, the long-suffering color grader.
CES 2012: LaCie Hub Connects eSATA Drives to Thunderbolt Macs
| Arnold Kim | Mac Rumors
Finally, another Thunderbolt device announced, and expected some time in the first quarter, but no price yet:
The hub comes with two Thunderbolt ports and two eSATA ports. Users can connect up to two eSATA drives to the hub for use on their Thunderbolt equipped Macs. The additional Thunderbolt ports can also be used to daisy chain additional Thunderbolt peripherals off the device.
OSCARS: Academy Tightens Documentary Rules; Too Much Power To LA-NY Times? | Pete Hammond | Deadline Hollywood
It used to be that to qualify, a movie had to have a 7-day run in LA or New York that was advertised in a major paper. Now a change is planned:
But now, in an attempt to further weed out the influx of docs generally designed to run only on television, a review of the film MUST appear in either the LA Times or the NY Times at the time of opening along with adhering to the previous rules. According to Academy COO Ric Robertson, the new requirement is a further step in eliminating docs that have no real intention of gaining distribution or having a legitimate theatrical run.