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Astonishing Canon 5D Mark III ISO 12,800 video | Andrew Reid | EOSHD
A sample video posted on Vimeo compares the 5D Mark II and III and appears to show a big reduction in noise (sample frames are posted on the EOSHD site):
Here is a shot from Japan which was shot with both the 5D Mark II and 5D Mark III (with beta firmware) by a camera reviewer. The cleanness and lack of noise is something quite remarkable.

Are we in for a incredible low light treat – a truly ground breaking camera?
For official samples of still images and videos: Canon 5D Mark III samples image & movies | Canon Japan



Tascam DR-100 mkII vs Zoom H4n Review | Paul Joy
A comparison between the Tascam DR-100 [$269] and the Zoom H4n. Price is about the same, so as Paul notes, it really comes down to features, and while the DR-100 mostly comes out ahead in that area, he did note a troubling problem with sync between the DR-100's audio and audio recorded on other devices:
Design wise there’s a few things that that DR-100 mkII offers that sets it above the H4n. Things like the proper metal push-locks on the XLR connectors and better quality switches go a long way to making this unit feel more professional. There’s a nice rotary selector wheel on the front that works like the early iPods which makes using the UI a pleasure. The UI itself again looks a little dated but it works well. The LCD is much higher in resolution than the H4n’s allowing a lot more information about settings and modes to be displayed.


Rethinking NLE design II | Oliver Peters | digitalfilms
A rethink of Final Cut Pro X:
The basic timeline unit in FCP X is the Primary Storyline, which forms the “spine” of a piece. If you are familiar with editing soundbite-driven projects, like documentaries or news stories, then you are probably already working the way FCP X “thinks”. For example, many editors cut these pieces by building up the story with a string of soundbites – pictures on V1 and corresponding audio on A1/A2. This is commonly called building a “radio cut” or the “A-roll” first. To this, they’ll add “B-roll” cutaway shots onto V2.


Premiere Pro: Using the Waveform monitor | Richard Harrington
For those using Premiere Pro, a look at the Waveform Monitor:
This Premiere Pro tutorial titled Using the Waveform Monitor is from chapter one of the Fixing Video Exposure Problems in Premiere Pro course presented by lynda.com author Rich Harrington. This specific tutorial describes how to evaluate images through a Waveform monitor that helps us accurately read the exposure of an image. The complete 1 hour and 14-minute long Fixing Video Exposure Problems in Premiere Pro course provides an explanation for the popular phrase "fix it in post" and explores various methods for fixing exposure problems in video footage.


A better housing for your GoPro: HEADCASEpro | Daniel Freytag
A Kickstarter campaign to produce a a rugged case for the GoPro:
The HEADCASEpro is an ultra lightweight case machined from a single piece of billet aluminum with a rock-solid stainless steel door latch, rubber buttons & cable port inserts, front & rear windows, and removable screw-on protective lens rings with a rubber cap and filter threads.

He is creating those thing using a KickStarter project. For a pledge of $328 or more you'll get a HEADCASEpro unit. For $100 you'll also get a HEADGEAR.


New Beachtek DXA-SLR PRO Audio Adapter For DSLR Cameras | Cinescopophilia
Features and pics of a new audio adapter designed for SLRs, the Beachtek DXA-SLR Pro HDSLR Audio Adapter [$449]:
The Beachtek DXA-SLR PRO adapter is an all new design with many enhanced features over the older DXA-SLR model. The Beachtek DXA-SLR PRO provides a high performance front end to connect virtually any professional microphone and other audio gear to these cameras for superior audio. This enables the DSLR shooter to record professional audio directly to the camera without the need for a third party audio recording device, or having to sync the audio in post production.


RALPH MCQUARRIE REMEMBERED | George Lucas
"I am deeply saddened by the passing of such a visionary artist and such a humble man. Ralph McQuarrie was the first person I hired to help me envision Star Wars. His genial contribution, in the form of unequaled production paintings, propelled and inspired all of the cast and crew of the original Star Wars trilogy. When words could not convey my ideas, I could always point to one of Ralph's fabulous illustrations and say, 'Do it like this.'"


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