Den is perhaps better known for getting his hands on prototypes of the Sony NEX-FS100 and NEX-FS700. Here he talks about preparing to shoot with the RED Scarlet for the first time, and also about lighting:
Light is Light is Light….. no matter what format you choose to shoot on. The fact that I’m shooting Red Scarlet will not have any particular impact on my lighting style.
How intense the light is, what colour it is and how hard or soft it is will be up to the fine tuning on the day…. but the approach and principles remain unchanged. I’ll be using the Sony PVM 1741 to light with and check my ratios.
Are Indie Movies Getting Too Pretty? | Jason Bailey | The Atlantic
I think what he really means is that people aren't using image to enhance the feeling of the story; they're just making it all look pretty:
What's more, should films like the Detroit-is-burning documentary Burn or its Sundance cousin Detropia, look as beautiful as they do? Both chronicle the crumbling of America's fastest-shrinking city. It's not an attractive story, but in both cases it's presented in a visual style that's downright glistening. I don't mean to unfairly single out those films, which are both powerful and thought provoking, or their excellent cinematography, which is (presumably) working off an organizing principle of seeking out the beauty in decay.
The Canon 5D Mark III, Canon C300, and RED SCARLET Shoot a Nighttime Bike Race Side-by-Side | Ryan Koo | No Film School
A shoot done with three camera results in some thoughts on the pros and cons of the Red Scarlet and Canon C300:
To me, the RED is more ideal for features and the C300 better for docs, but in either situation, if you’re going to be doing nighttime shooting without the ability to add light, the C300 is a far better choice.
The Adobe Tax — CS6 Rent vs Upgrade | Martin Doudoroff
| Mac Performance Guide
I still don't know the pros and cons of renting vs. buying, but this article does point out that Adobe doesn't equally enhance all of their software applications each time they do a rev. This underlines the fact that the Suites are a much better value than the individual applications (though that's only true if you are regularly using at least two of the programs in the Suite.)
Make no mistake, Adobe has a lot of wonderful developers doing wonderful work, and the various CS6 apps unquestionably have a lot to offer at almost any price. At the same time—as has been the case throughout the history of the whole Creative Suite era—many users will discover that what they receive for their $600 (or so) will not be commensurate with the hype.
SpeedGrade Help / Topics | Adobe
If you're interested in Adobe's new color grading application, here's a collection of resources:
Quickstart: Color grade a clip
Quickstart: Color grade a sequenceWhat is SpeedGrade?
What's new in SpeedGrade CS6
Tips and tricks for using SpeedGrade CS6
The Future of Film | Conor Risch | Photo District News
This is for the still photographer. But even for them, I think film is dead, I mean, just read the last line:
“I think the future of film looks good,” Canham says, “but the environment’s changed tremendously.” Instead of buying film as needed, large-format photographers have to get comfortable with planning ahead and paying several thousand dollars up front to buy a supply of film that may last years.
Be Some of the First to View Footage From the Canon C500 Projected In 4K – Here’s How | Digital Visual
If you're in LA on May 10 you can see footage from the Canon C500:
Join Canon Live Learning for a first look at the EOS C500, the only Cinema EOS camera offering support for 4K RAW output. Designed for 4K professional production environments, the EOS C500 features Canon’s renowned high-sensitivity and low-noise technologies, including high ISO settings of up to 20,000.
How An Unsung Screenwriter Got To Work With Ridley Scott On Prometheus, And Ended Up 'Riding A Bronco' | Parmy Olson | Forbes
Jon Spaihts had a meeting with Ridley Scott, and it turned into a movie script:
“I came out sprinting,” Spaihts said. Soon after his meeting with Scott, Spaihts wrote up a 20-page, single-spaced, “extremely detailed outline.” He then wrote the first draft of the screenplay in just three-and-a-half weeks, handing it on Christmas morning of 2009. Within 12 hours, Ridley Scott and his team had sent back notes. The winter holidays went out the window.