Vincent Laforet spoke at last nights Boston Creative Pro User Group meeting, and during the Q&A, Paul Antico asked Vincent if he thought that footage from the Canon C300 could be intercut with the ARRI Alexa. Vincent said that nearly everyone he'd spoken to thought it could, and cited the colorist for his video Mobius who made that comment after spending some time with footage from the camera.
Daniel Bérubé noted that the colorist for the short "The Hustle" also said he thought the footage would go well with the Alexa.
Vincent added that he only knew one person who didn't think the C300 could be intercut with the Alexa, and that was Shane Hurlbut.
Paul then tweeted:
Great prez by @vincentlaforet. Said all DPs but one he's talked to think #c300 can intercut w Alexa footage well. Some can't tell em apart
[...] Incidentally @hurlbutvisuals doesn't agree with him he said.
@AnticipateMedia Paul Antico
Almost immediately - as Paul reported it before the end of the meeting - Shane replied:
@AnticipateMedia I think they cut pretty well together on the Keith Urban vid ow.ly/1GXIga
@hurlbutvisuals Shane Hurlbut, ASC
Canon C300 and Sony F3 footage to download | Alister Chapman | XDCAM-User
Alister has written a post comparing the C300 and PMW-F3. His comments on color are interesting; he thinks Sony's color may be more accurate, but he likes the C300 image better:
So, I’m liking the C300 a lot. It’s compact, well built and nice to hold. I find it hard to really distinguish the in camera recordings from the C300 and from the F3, but the C300 has that magic 50Mb/s codec that the BBC and others insist on. So for Grab and go the C300 makes a huge amount of sense. Indications are that the F3 may still have an edge in terms of ultimate latitude
What’s the magic ingredient in the Canon C300 | Philip Johnston | HD Warrior
Philip already posted a review of the C300, but he's added a short additional thought about it's support for Canon lenses:
The Canon C300 ticks all my boxes, a large range of Canon EF glass that focuses clockwise, 50Mb/s, 4:2:2, 720 50p, Super 35mm low noise sensor, three ND filters and uses relatively low cost CF cards.
No other camera on the large sensor market comes close to the Canon C300 for choice of quality dedicated glass that does not need an adapter or a bolt on recorder just to attain 50Mb/s.
Sony F65 day shots | CinePostproduction | Vimeo
Sony F65 night shots
CinePost Production, a German film lab and digital postproduction company, has posted two sets of clips - one during the day, one in the evening - shot with a Sony F65.
Shot by BandPro Staff Rainer Hercher and Seth Emmons on February 13th and 14th in Berlin, Germany.
They used Leica Summilux C Lenses and only available light. We added a minimal colour correction to these shots using Colorfronts OSD.
3 Great Budget Carbon Fiber Tripods | Dan Bailey | Blog
Dan lists three carbon tripod's he likes, ranging in price from $159 to $249:
However, you don’t have to melt your credit card in order to get a decent carbon fiber tripod; here are 3 good, budget models that cost under $250. There are other OK models out there, but in my research, these are the best ones that fall into the “affordable but not cheap” category. If you’re looking for an even more affordable, yet quality tripod, check out my review from the other day, 5 Budget Tripods for Outdoor & Landscape Photography.
The Next 5D on February 27/28, 2012 [CR3] | CanonRumors
They seem pretty confident that the Canon 5D Mark II replacement will be announced in the next week:
Below are the specs for the coming 5D replacement, the full name of the camera is currently unknown.
Dual CF/SD Card Slots
Price: Around $3500 USD
Act of Valor: Reinventing the Action Genre | Shane Hurlbut | Blog
Shane writes up how Act of Valor was produced:
Remember this film was shot in the spring of 2009. All 30fps, a beta test of manual and not much help from anyone that really understood the Canon 5D and its potential. My team of assistants were fearless as well and took this camera that was not made for image capture and quickly turned it into a movie making machine.
Gear Review: Nexto DI | Vincent Laforet | Blog
The Next DI is a portable hard drive device for transferring footage from memory cards in the field:
The largest downside was the battery life, which we were able to conserve by shutting the drive down between card copies, but still by the end of our two hour long flights was below 50% (the Nexto spec sheets rate the battery life at 120min.). The battery life is probably directly effected by the inclusion of an LCD screen – which is nice, but not necessary.
The Color of Emotion | Alexis Van Hurkman | Blog
Interesting post about the changing color of people as their emotion changes:
Here’s the issue you’ll face. As a scene progresses, the emotions in the room will build, and people’s complexions will shift as faces flush. What you do about it depends on you and your client’s philosophical approach to skin tone. Here are some things to consider:
RGrain: Film grain clips to make Digital Video look like Film | HDCamTeam
A software filter for adding film grain:
According to the developers one of the benefits of Rgrain is that their plates are not full of dirt, streaks, hairs etc… Each film stock grain structure, grain motion behavior and chroma is replicated as closely as possible to the real thing but without the film damage so your footage stays clean but now feels more like film. They do however have 16mm and Super 8mm plates that have moderate film damage.
8K at 120fps – forget 4K! | Andrew Reid | EOSHD
Here come the big chips! I also find it interesting that Sharp is showing an 8K TV, when people are questioning whether anyone will "see" any difference with a 4K TV in the average home!
At 21.5mm x 12.1mm it is the size of Super 35mm when cropped to 16:9, and does 120fps at a resolution of 7680 x 4320.
At the IFA show in Berlin, and at CES, Sharp displayed an 8K TV. The technology is already developed, at a time where 4K is barely on the market.
We're About to Lose 1,000 Small Theaters That Can't Convert to Digital. Does It Matter? | Michael Hurley | Indie wire
With studios announcing that they will cease 35mm film distribution in the next year or so, and a digital cinema retrofit costing about $65,000 at the low end, many small theaters will probably close.
the brain trust in Hollywood seem committed to playing a game of diminishing exhibition returns and appears ready to write off huge swaths of the ticket-buying public. You can bet that the same people who spent $150 million to make "Mars Needs Moms" have crunched the numbers and believe they can live with a lot fewer theaters in this world.