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THE WEEK IN CAMERAS: SONY NEX-EA50 AND ZACUTO SHOOTOUT | Michael Murie | Filmmaker Magazine
I look at the Sony NEX-EA50, and the controversy over the Zacuto shootout:
What is the Internet without a bit of controversy? Last week Zacuto released the third and final part of their “Revenge of the Great Camera Shootout.” The second episode had already created controversy when Gizmodo reported that no less than Francis Ford Coppola preferred the Panasonic GH2 over the Sony FS65.


Tutorial - After Effects Part 5 - Windows and Tabs | Chris Fenwick | One On One
Many people get confused when they accidentally close too many windows in After Effects and can’t get stuff back to where it was, let alone where they want it. This video will show you around how to customize your windows and tabs.


Mac Pro RAID setup | Paul Joy | Blog
Paul documents setting up a new RAID:
It took 15 hours for the RAID 5 set to build. Once complete the common ‘This Disk needs to be initialised” appeared on my screen and then once set to ‘Mac OS Extended’ I had a shiny new drive icon ready to be used. The first thing I did was run some tests on the RAID set using AJA’s drive speed utility and it became apparent that something wasn’t quite right with the read speeds.


The Codec Conundrum | Tony Reale | NextWaveDV
Discussion of codecs used in cameras and editing:
With the FS100, the same sensor was given to the camera, but sLog was not an option and the codec was limited to an AVCHD 24Mb/s. While many screamed at Sony for doing this, those who shot on the camera soon realized that, for it being such a compressed codec, Sony managed to cram a lot of data into it. Though it wouldn’t compete directly with the F3’s sLog footage, the FS100’s AVCHD was perhaps the most robust version of the codec to date.


Filmmaking from an editors perspective | AVID Rough Cut Interviews
| Jonny Elwyn
Videos of editors talking about filmmaking:
Avid Rough Cut has 40 episodes under its belt. They feature in depth interviews with filmmakers and editors on their craft, careers and insights on the world of filmmaking from a post production point of view.


5 After Effects Keyframe Tips | Clay Asbury | Premium Beat
1. I DON’T SEE ANY KEYFRAME SETTINGS!
For new AE users, the location of keyframe settings in After Effects may not be obvious. Click the triangle for the entire layer to reveal the Transform properties. Then, click the Transform triangle to reveal the properties you can animate (anchor, position, scale, rotation, property).


Light for free using natural light sources | Andrew Reid | EOSHD
The importance of light:
I don’t think of ‘lighting a scene’ as always directly controlled, often it is wild. Lighting you can control is only half of the cinematographer’s job and so many films make use of the sun as a key light. Terrence Malick has based a career on magic hour light!


A Director Who Excelled in Excess | MANOHLA DARGIS | NY Times
These were, more than anything, films by someone who wanted to pull you in hard and never let you go. Years after I met him, Mr. Scott sent me a note of thanks for my review of “Domino,” embellishing it with a witty self-portrait of a figure in a red cap smoking a very large cigar. He looms large on this little rectangle, a blank screen he filled with vivid energy.

Tony Scott Top Ten Directing Moments | Stu Maschwitz | Storify
Stu tweeted a collection of moments he liked from Tony's movies, collected here:
“In loving tribute to Tony Scott, whose work I truly love, I’m about to tweet my personal Tony Scott Top Ten Directing Moments.” -

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