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Blackmagic Cinema Camera | Chris Hocking | LateNightFilms
Some impressions of this new camera:

This is NOT an RED Scarlet or Alexa replacement, but if you have a no-budget shoot, or if you need a decent “B Camera”, then this is a fantastic option. This camera is incredibly cheap for what it does – but at the end of the day you get what you pay for.

Dungeness shot on the Blackmagic Design Cinema Camera | Philip Bloom | Vimeo
Philip is working on a full review, but has posted this video first:

One thing I found on this pre-release camera is there is a touch of pink in the highlights when using ProRes HQ. BMD are aware, and it will be fixed for release. This doesn’t happen in the raw. The ProRes is beautiful. Sharp, flat as hell (very log-c Alexa like) and way easier workflow than raw.

Canon C300 vs Blackmagic Cinema Camera – chart test | Andrew Reid | EOSHD
A resolution comparison, note that Andrew also saw the same color issue:

Considering how the C300 is probably the cleanest 1080p camera on the market, the BMCC puts up a good fight here.Bare in mind that the false colour you see is from the pre-production model. There’s also some pink highlights in ProRes mode (due to green channel clipping earlier than the red channel) which will be fixed on the final camera. This is why I am waiting to review the retail model that will actually ship to the first customers in 1-2 weeks.

Cinema DNG Transcoding - Example Session | Roald Christesen | Vimeo

This is a very early demonstration of Cinema DNG Transcoding in my new software.
32 bit floating point rendering, adjustable debayering algorithm, CDL for red/green/blue/lumina, 3D LUT, color adjustment via HSV curves, waveform scope, film stock and grain simulation, output to Apple ProRes or image sequences, 16 bit Tiff export, project/clip/render management ...

New Sennheiser MKE600 XLR Shotgun Mic Designed For Video Journalism
| Dan Chung | DSLR News Shooter

What I like about the MKE600 is that for a reasonable price you get a mic that will grow with you in your career. It will work on a basic camera like the Canon 60D, but be equally at home on a C300 or broadcast camera. Sure there are better small shotguns out there – such as Sennheisers famous 416 and the newer 8060, but even if you upgrade there will always be room for a spare and this mic will still be useful.

Contour Plus 2 | Contour
Contour announces a new camera:

We took our most coveted features from the ContourROAM and the original Contour+ and created a camera that is not only easier to use, but brings an entirely new perspective to your adventures. [...] Featuring even better video quality, an Instant On-Record switch, and a 60-meter waterproof case for those underwater adventures, the Contour+2 will bring your stories to life like never before.

The Zacuto Z-Finder: Crisp, Clear, Magnified Viewing | Bjorn Petersen | B&H
A look at the Z-Finder system:

The Z-Finder is a standout system in regard to overall quality and versatility. The principle of the viewfinder is simple, yet executed very well with ample room to accommodate different user’s preferences and needs. The update to include 3.2” LCDs further expands this system’s capabilities, and the adaptability of the viewfinder allows for use of one Z-Finder across multiple platforms.

4K at 60FPS is Coming from Sony, New Cameras Likely Not Far Behind | Joe Marine | No Film School

There will be more 4K sensors to come, but what’s more striking for me is how far ahead of the game Sony’s sensor development is than the other Japanese manufacturers. Of course companies like RED and Arri can get high frame rates — but they have a very specialized business and they can work with a sensor manufacturer to design exactly the right sensor they need. Sony, however, is usually working on a far larger scale.

Sony 18-200mm f/3.5-6.3 OSS Lens – SEL18200LE – Hands on Review | Jay
| Sony Alpha Lab

Sony now has three different E-mount 18-200mm lenses; the original SEL18200 [$898] model, the newer SEL-18200LE [$848] and the power zoom model coming with the NEX-EA50. This review compares the first two, and notes some differences:

The New SEL18200LE is much lighter and smaller than the older version SEL18200, but the image quality is not quite as sharp in my opinion. It’s more noticeable in the corners as the center is really sharp. [...] On  a Camcorder, I would go for the older 18-200mm for the slight better quality, much better balance, and looks.

John Lee | Twitter
Editor John Lee, who worked on The Dark Knight, took part in a #PostChat on Twitter last night. Check his tweets here. You can also read an interview with him here: Behind the Cape & Cowl:Shedding Light on the Post for ‘The Dark Knight,’ Part 1 | Editors Guild Magazine

When cutting action always remember geography or people will get lost. Even tho its fast it must make sense.
Test everything in first weeks so as not to find problems 12 months later!

Unique Typography in After Effects with Type-O-Matic | Danny Greer
| Premiumbeat

A controller lets you modify the opacity, position, rotation and scale of your text.  Additional tools create text masks and unfold (giving the appearance that the text is actually ‘unfolding’).  Whether you’re a video editor or motion designer, Type-O-Matic is a quick way to make your typography more dynamic and engaging.

An NLE companion app is what I really wanted out of Avid Studio for iPad
| Scott Simmons | ProVideoCoalition
A look at the former Avid iPad app and what it could have been; note that it's currently free on iTunes! (now named Pinnacle Studio]:

To makes this process work and to have the iPad be really useful as an editorial tool in a professional environment it’s important to think about not what could you edit on an iPad but what would you want to edit on an iPad. A tiny touch screen isn’t all that appealing a place to work for hours on end when you have a full-blown edit station near but the idea of sitting back on the couch to get some of the early cutting on a program done is one that really intrigues me.