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An Examination of: Sony F3 and Red Scarlet; a Direct Comparison | Timur Civan
| Blog
A pretty detailed post that compares footage from the RED Scarlet and the Sony PMW-F3. Neither camera lands a knock-out punch, though Timur notes "When it needs to look natural, I use the F3. When it needs to look crisp and slick, RED."
The RED is simply razor sharp, has a punchy slick look, and has the easiest onset ergonomics and workflow. The footage is 16bit 4K RAW. I mean, the camera is the size of a Hassleblad and gives you amazing images.

The F3 on the other hand, is night vision, which makes for simpler indie shooting on lower budgets where you dont have access to bigger units. It also has more useable dynamic rage, and its color is in my opinion the best in digital right now short of the Alexa.


Canon 5D Mark III Light leak
A little more info is popping up about the "light leak problem" with the Canon 5D Mark III. Is it a problem or is it not? There continues to be differing opinions:

The “Light Leak” Update | CanonRumors
So is this an issue?
On the body I tested, it doesn’t appear to be. If the camera acts properly with the lens cap off, who cares how it acts with the caps on? So please don’t return your 5D Mark IIIs, or cancel preorders or overreact. This “issue” may have a simple explanation.

Canon 5D Mark III Light Leak Example | Ron Risman | Vimeo
Ron Risman did discover a problem while shooting a timelapse:
I discovered that the every other frame got brighter, then darker, then brighter again. I only scrolled through the first four frames and decided to scrap the idea of an HDR nightlapse since something wasn't right. I switched over to a standard long exposure and re-started the time-lapse.
When I read about the light leak issue it dawned on me that during the first few frames I was checking the exposure settings using the backlight on the LCD.


Tutorial - Logo Treatment | Chris Fenwick | Blog
If you are just starting out with After Effects, this tutorial might be helpful:
Julien Lasseur encouraged me to do a little tutorial on the logo treatment I did for Hurlbut Visuals. There is some workflow tricks in Illustrator and After Effects that may be useful.


Intro to Color Correction | Larry Jordan | Blog
A good introduction to color grading:
When we use the Waveform Monitor to view an image, all color is ignored — the scope just examines the gray-scale values of the image; which is what I am illustrating here with the black-and-white photo. When we color correct a clip, the first thing we adjust is the gray scale, which is also called “exposure” or “contrast.” You can’t get colors to look right if the grayscale values are wrong.


Adobe Audition: Quick Power Tips | Larry Jordan | Blog
Larry also provides an introduction to Adobe's Audition, the audio editing app:
As Apple was phasing out Soundtrack Pro, Adobe announced the CS 5.5 release of Adobe Audition which brought this audio recording and editing software to the Mac. I’ve been looking at it ever since. As every editor knows, making the transition from one major editing application to another is fraught with all kinds of stress and as more of my work involves audio than video, my stress level was higher than usual.


Glidecam Tips and Tricks | Joe Simon Films | Vimeo
In this short video Joe Simon describes the operation and setup of the Glidecam 4000HD, and even the lens he likes to use (with a Canon DSLR).



Sorting and Sifting Video in a Nonlinear Editor | Richard Harrington | Blog
A recommended way of naming and organizing clips in your NLE media bins (with an emphasis on Adobe Premiere Pro).



Shooting in London on the 5D Mark III with Iscorama 36 1.5x anamorphic
| Andrew Reid | EOSHD
Andrew explains how to shoot anamorphic with the Iscorama 36 anamorphic lens:
This lens cost me around 1500 euros in December and I’m very happy with it. Very small and light, focussing is a breeze. It is a 1.5x stretch. You’re getting a wide angle field of view horizontally with it and a standard 50mm frame vertically.

It does flare more than my CentaVision which is good, but not as much as I was expecting. It isn’t the multi-coated MC version.


IVÁN CASTELL shoots music documentary “TROVADORES” with the Canon 5D MKII | Iván Castell | DSLR News Shooter
Shooting a music video with DSLRs:
I even got the chance to shoot some aerial shots over the city at nightfall. That time I couldn’t get the 5D, and we used two 550Ds. I was really worried about the low light capabilities and the jello effect of the cameras. To be honest these cameras are not made for these kinds of shots, the plane vibration was too easily transferred to the camera and the image bubble, but when you can get 10-20 good seconds of clean footage, with some software stabilization it looks really beautiful. I mean, for the price of those babies, what you get is really nice.




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