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5D Mark III codec noise research - example file | Andrew Reid | Vimeo
DON'T PANIC: but some people have encountered a noise issue with the 5D Mark III. It's unclear if it's a camera / settings / conversion / software / or user issue.
Exhibit A for the 5D Mark III codec issue of heavy noise even at ISO 160. This isn't ISO related it is an encoding issue. Research required to find out what is causing it.

As of now, this footage is unsuitable for professional use. I'm seeing tons of crawling noise over the image and it isn't stable. Noise appears in all apps I have used so far: Quicktime X, VLC 2.0.1, Premiere Pro CS5.5, 5DToRGB transcode does not help.


First day with the Canon 5d3 ( photos and video ) | Jacob Gibbins | Blogspot
Some nice photos and very good video shot with the 5D Mark III:
Canon 5d3, 70-200 2.8 , 24-105 , 15mm fish , slider, tripod , mics etc
All shot and edited in one day...


Canon EOS 5D Mark III quick tests | planetMitch | Vimeo
A short video with a couple of scenes shot with both the Mark II and III [someone buy Mitch a tripod-Ed]  as well as an interesting low-light shot, and extreme jello test.



Steve, Rob, Vince and Me | Steve Forde | Adobe Blogs
What looks like an interesting session on After Effects at NAB. Will also feature someone named Steve Wozniak:
Rob Legato just won his second Academy Award for Visual effects this year for the fantastic Martin Scorsese film – Hugo. Rob will be discussing how he feels these types of advances in technology will fuel the next generation of film and creativity.

Vince Brisebois and myself will be talking specifically about those advances and how you can use them. I’m also killer excited because it will be the first time in public that I get to explain what I believe to be one of the biggest advances to Adobe After Effects in over a decade.


After Effects Basics: Part 38: Range Selectors | Andrew Davis | Creative COW
And for the After Effect's user, a new tutorial on Range Selectors:
Range selectors in After Effects enable many text animation functions that would be quite complex to achieve through the normal 'stop-watch' approach to animation. Range selectors also give us the ability to animate the numerous functions within the character panel, which at first sight, appear not to be animate-able!


Episode 44: Tascam DR100 Mark II and Zoom H4n Compared | Caleb Pike
| DSLR Video Shooter
Another comparison of the Tascam DR100 with the Zoom H4n:
I have been using the H4n for as long as I have been shooting on HDSLRs. It has taken good care of me and I have not had any major problems with it. So if people think I am being unfair to the H4n they should also try the Tascam DR100… They might find themselves picking one up. Even though the H4n has become the most used audio recorder by HDSLR shooters, I believe the DR100 MkII has a serious edge on it.


Understanding Color Processing: 8-bit, 10-bit, 32-bit, and more | Karl Soulé
| Adobe Blogs
The is an old article, but worth reading about how Adobe Premiere handles color:
Trying to understand video color precision is, well, a confusing task. There are so many different terms floated around – 8-bit and 10-bit color are used to describe cameras, while software talks about 8 bits per channel, 16 bits per channel, and 32-bits per channel “floating point” color. What does it all mean?? And, for the colorist, how does Premiere Pro handle color?? If these are burning questions in your mind, then read on.


Denz shows off Canon EOS 5D Mark III PL mount body | Planet5D
A PL mount conversion for the Mark III probably isn't cheap!:
Hans-Jürgen Götz sent me this and I thought some of you might want to see… it is an extension of what Denz has been doing with the Canon EOS 5D Mark II but they’ve now shown a Canon EOS 5D Mark III version already at the Canon roadshow in Stuttgart, Germany the other day.


Matching Audio in FCPX | Larry Jordan | YouTube
Short instruction on matching audio. To be honest, I'm including it because I didn't know FCPX had this function (I knew it had a Match Color function.)
In this short Final Cut tutorial, Larry Jordan -- http://www.larryjordan.biz/ -- shows you how to match audio from two different days using two different mics. This is an excerpt from Larry's training, FCPX: Working with Audio.


ipad going invisible | michael cioni | Foresight|Tumblr
Interesting thoughts on the iPad:
3 years ago when the first iPad was announced I was in a meeting with a post production supervisor for a movie we were about to start shooting. I told her that 2 weeks after production started, the iPad 1 would come out and we would send a few to production for dailies viewing. She looks at me and says, “Why would anyone ever want to use an iPad for viewing dailies?” 3 years later, iPad dailies review has become the preferred method of image delivery (at least amongst my circle).


MC 5.5 to MC 6 Upgrade Price Change on the Avid Store | Mariana | Avid Forum
Watch out! There's a price increase coming!:
Heads up everyone..........I wanted to let you know about an upcoming price change to the Media Composer 5.5 to Media Composer 6 upgrade. Effective April 1, 2012, the online Avid Store pricing for this upgrade will change from $299 to $499 US MSRP.


Cut Notes for iPad can now be used with Final Cut Pro X! | Taz Goldstein
| Hand Held Hollywood
A handy utility for the serious filmmaker to quickly create edit notes with the iPad.  An upgrade to the separate utility Cut Notes Marker Importer now allows you to import into Final Cut Pro X:
In a nutshell, Cut Notes let’s you use your iPad to quickly create a list of edit notes that can be imported into Final Cut Pro 7 as timeline markers.


iTunes Appears to Change Colors of Images Sent to the New iPad
| Melissa J. Perenson | PCWorld
This applies to stills only, but interesting to know:
To be clear, it's not news that iTunes alters photos that it syncs to an iPad. Images sent to the iPad 2 via an iTunes sync undergo an "optimization" process, in which iTunes first downscales and then resizes the image so that it takes up less space on the iPad. But with the new iPad, iTunes seems to be doing something more than just resizing photos, whether by design or by accident.

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