Monday, April 23, 2012

Quick Links

Looking Inside the Canon1DC DSLR 4K Capture Project “The Ticket”
| Shane Hurlbut | Hurlbut Visuals
Blog post on shooting Po Chan’s film “The Ticket” using the 1DC:
We purposely cast the Prius Taxi Cab to not only be eco-friendly, but to showcase the power of the camera’s size and its sensor. We loaded our three actors; Po, our director; Mike Svitak, our 1st AC; and me into the cab and drove around the streets of Los Angeles. I was in the hatchback of the Prius on a Kessler Cine Slider, using a Small HD DP-4 to gauge my exposure and frame my shot. The lens was the new 24mm Cinema Prime at a t1.3.

My personal favorite new products from NAB - Part 1 | Daniel Freytag | Blog
Daniel highlights some things you might have missed in the NAB coverage over the last week; the SmallHD HDMI clamp, Bebob Rigs, Livestream broadcaster, and SmallHD DP7:
Yes, there was another product from SmallHD, which I really liked today. It is a new 7" OLED monitor with an unbelievable picture. It is quite hard to describe, but despite it is only a 720p it looks fantastic! It is also supposed to be this good, because it costs twice as much as a DP6 ($2,699).

Headphones Mixing? Speakers Mixing? Both? | Roey Izhaki | Focal Press
Interesting article about the pros and cons of audio mixing using speakers and headphones:
The dominance of speaker mixes was never questioned until recently, when portable MP3 players and their integration with cellular phones became so widespread. It is a valid question to ask why we still mix using (and for) speakers when so many people nowadays listen via headphones. There is an unexploited opportunity here for record labels to produce ‘speaker’ and ‘headphone’ versions. This would make sense not only from a mixing point of view but also from mastering, consumer and label revenue points of view.

NAB 2012: Garrett Brown of Steadicam demonstrates the Merlin 2 | Dan Chung
| DSLR News Shooter
Dan Chung interviews the inventor of the Steadicam, Garrett Brown about the Merlin 2, a sub-$1,000 Steadicam for DSLRs and small cameras - including the Canon C300 he claims - which is described as an updated, more rugged version of the original:
Steadicam inventor Garrett Brown talks to site editor Dan Chung about the latest designs from Steadicam and how the new Merlin is well suited to news and documentary shooting.

| DSLR News Shooter
Another look at PluralEyes 3:
In this video Bruce Sharpe of Singular software demonstrates the upcoming version 3.0 release. The software features a video and audio interface and is ten to twenty times faster than Pluraleyes 2. Bruce also discusses Cloudeyes – a cloud based audio video sync utility for developers.

Set Design Part 2: Documentary Filmmaking | Ron Dawson | Dare Dreamer
Interesting short piece about set decoration for documentary shooting (i.e. dressing up the surroundings for your interview subjects!):
But, if you’re shooting a corporate film where you will be interviewing key executives, you may have a number of options (e.g. their offices, conference rooms, large lobbies, etc.) If you do have an opportunity to pick location, you want to keep in mind audio issues (e.g. traffic noise, computer humming, people working, etc.) as well as lighting issues (i.e. daylight, incandescent, and most importantly, fluorescent.)

Adobe Creative Suite 6 | B & H Photo & Amazon
Let the pre-ordering begin! B & H already has pre-orders up for Adobe Photoshop CS6 (Mac) & (Windows) for $699, and Creative Suite 6 Production Premium for Mac and Creative Suite 6 Production Premium for Windows at $1,899.
Amazon is currently selling the Adobe Creative Suite Production Premium CS5.5 significantly cheaper, and you qualify for a free upgrade to CS6 if you buy now, so that might be worth doing...

Peter Jackson Ready To Dazzle With 'The Hobbit' In 3D & 48fps, But Will Theatres Be Prepared? | Charlie Schmidlin | The Playlist
Issues with both production and distribution for The Hobbit? Hopefully, I can just watch it in 24fps!
Those on the production side are stressed as well, since they've had to find solutions while simultaneously shooting on the upgraded formats. Jackson is shooting on the Red Epic in 3D, with completed footage taking up 6-12TB of camera data per day (the production's digital storage center was glimpsed on their video blog, and it is massive). At Park Road Post, where they're editing the film, they've just recently created 3D 48fps systems, while editing 2D 24fps in the meantime before converting over.

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