Tony talks about what he likes about the Sony NEX-FS700, and also what gear he likes to use with it. He's a fan of the 18-200 kit lens (with reservations) and likes the Metabones adapter for use with Canon lenses:
In this video I talk about my new Sony FS700 video camera. People have asked me why I went from HDSLRs to the new FS700 and I explain my reasons while also showing the gear I have in my kit.
KineRAW S8 Camera Test Footage | Cinescopophilia
A Chinese company is working on some interesting cameras. A few details can be found here:
There are three Chinese KineRaw cameras the KineRaw S35, KineRaw S16 and the KineRaw S8 in the making. [...] and now we see more test footage of the KineRaw S8 camera has been put up by Dan Hudgins. The KineRaw S8 is similar to the KineRAW S35 and KineRAW S16 cameras except for the lack of Cineform compressed recording.
and here: KineRAW S35 Camera Vs Sony F3 Camera
Now filming with Canon C300 and XF305 | Philip Johnston | HD Warrior
Philip needed a run and gun camera to use with the Canon C300, and found that the Canon XF100 [$2,995] wasn't good enough. That left either the Sony HXR-NX70 [$2,499], Sony EX1r [$5,899], or the Canon XF305 [$6,995]. Philip explains how he made the choice:
Although the Canon has 3 chips, 4:2:2, 50Mbps and the magical CBR (Constant Bit Rate), I cannot match the colours to the C300 as good as I could with the Panasonic AC160 but the pictures from the 305 are stunning.
I need a run and gun camcorder for everything other than interviews and the Canon XF305 will be a great stable mate to the C300.
Little fix to make using Premiere CS6 a little bit better! :) | Philip Bloom | Blog
A hack for enlarging Premiere's icons:
One thing that bugs me though is when zoomed out on the timeline the icons are just too damn BIG. You are constantly zooming in to to do edits and tweaks due the icon size. My great friend, amazing shooter and English MacGyver has the same problem as me and has started work on reducing the size of the icons to make editing easier.
Duran Duran – A Diamond in The Mind 2011 – How we filmed it | Den Lennie
| F-Stop Academy
Den Lennie explains shooting a 22 camera Gig on Super 35mm with the Sony PMW-F3 [$13,160], NEX-FS100 [$4,999] and HXR-MC1P [$1,795] Point-Of-View camera. Interestingly, unlike most concert films made these days, the camera operators were roaming free and weren't being directed through talkback:
We chose to shoot the gig primarily on Sony PMW-F3, and Sony NEX-FS100 camera’s with on stage minicams Sony HXR-MC1P. The F3′s were recorded internally at 35mb/s and externally on to Convergent Design Nano Flash ast 80mb/s Quick Time. This meant we’d have the necessary higher bit rate for HD Broadcast spec and a secondary back up using the camera’s internal codec.
It’s Hard to Stop a Trane: Shooting Action Sequences | Shane Hurlbut
| Hurlbut Visuals
Another blog post about a multi-camera shoot that featured a lot of DSLRs:
Most of the shots for this concept involved complex stunt and practical FX work, so proper planning was paramount. The Elite Team was strategically placed for maximum coverage during each action sequence using 17 cameras: 2 Arri Alexas, 8 Canon 5D’s, and 7 Canon 7D’s. The Arri Alexas shot 120 FPS from a safe distance while the 5D’s and 7D’s were put into Pelican crash housings and placed in harm’s way.
Understanding Color Processing: 8-bit, 10-bit, 32-bit, and more | Karl Soule
| Adobe
A blog post about color processing, along with a tip for using Premiere Pro (via Patrick Inhofer's Tao Colorist):
Okay, now how does this relate to Premiere Pro? Some of Premiere Pro’s effects are full 32-bit floating point effects and have the ability to work in this high color precision. There’s a little secret to making this happen, however. Since 32-bit float color is more memory intensive, you need to turn on a small check box in the Sequence settings
Continuing Tales of an FCP Switcher – CS6 workflow, for now | Walter Biscardi
| Biscardi Creative Blog
Walter continues his move away from Final Cut Pro; in this, the third post on the subject, he explains the workflow they are currently using:
Gone is the “log and transfer” requirement of FCP and it does take some time to get used to the fact that you can literally jump right in without the need to do anything to your media. As much as we can, we just leave everything raw and native as it came in. Saves a lot of time initially and with some very fast “big iron” systems, we have cut our back end render times down to essentially “real time.” Our 27 minute shows render in about 28 minutes.
Screenwriting: More Research | Lilith | Tumblr
The post goes into some length about researching modified motorcycles, but it also makes an important point about how plausible foundations are important, which I think is why I had such a problem with Prometheus:
If we want to create the seemingly implausible (a computer becoming self-aware, for example) then we must create the plausible foundations for it. And there will always be an intangible factor (The Monolith) that we can’t explain, but we’ve got enough foundations to extrapolate and have our minds connect the dots in the way that only the human brain can.
5 Tips For Filmmaking On The Fly | Jason Brubaker | Filmmaking Tips
Some of these tips are obvious - have a good script! - but others are not:
3. Load your screenplay into the Lightspeed production management software, for FREE: This is one of the best innovations, possibly ever. You load your screenplay and create a script breakdown. In addition to this, you can later use this software to manage your production.
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