Behind the scenes look at how the short film "Reasons" was conformed and totally finished in after effects. The whole idea for the film was to build a workflow which was built around conforming my final cut and finishing it in after effects without the use of a smoke, avid ds or assimilate scratch which I use mostly for finishing. The hardest part of it all, you might think, is conforming your edits in AE, but it tends out that it's more easier than you think.
CANON CINEMA EOS: THE C500; C300; C100 | Movie Machine
An overview of the three Canon cinema cameras.
2 versions are available: one to work with EOS lenses and the other designed for PL mount lenses. This cameras outputs 4K over 3G SDI and delivers the best possible imaging performance required by filmmakers. Aimed at top level production for cinema and broadcast.
The Canon EOS-1D C is Different Than the EOS-1D X on the Inside | CanonRumors
The information I have received backs up what Canon said at the development announcement of the EOS-1D C, it does in fact have a different hardware configuration inside. While the DIGIC V processors, image sensor and AF module are all identical to the EOS-1D C, there is in fact “reworked circuitry and design to dissipate heat for the 4K recording”.
Jordan Goldman on Editing Homeland | Bryant Frazer | Studio Daily
Similarly, a scene showing Carrie suffering an emotional breakdown after her CIA mentor (Mandy Patinkin) discovers that she's running unauthorized surveillance on Brody's home life, was cut in a fragmented style. "I used a lot of jump cuts to suggest a frantic state of mind — that she's really upset and losing control of things." That scene is a great example of the show's jittery style, which is exemplified by a jazzy title sequence that seems to comment on the brilliant but very nonlinear way that Mathison's brain works.
The Business of Screenwriting: Bitching About Pitching | Max Millimeter
| Go Into The Story
And that leads to the biggie. You come to pitch, I want concept, I want characters, I wanna see the movie, but mostly I want passion. This is a story you believe in, okay? This is a story you have come up with, you have sweated bullets over, you are willing to fight for, a ball-bustin’, titty-shakin’, in your face, goddammed big deal. So act like it, okay?
So You Want to Keep your Camera Safe? Here’s How | Ben Evans
| Digital Photography School
8. Scratch your Email Address on the Bottom and on the Battery
My girlfriend flat-out refused to engrave hers, so we settled on stickers! They’ll help honest souls return your camera to you, while an engraved name ruins resale value and makes it easier to trace so might help with theft. Email your serial number to yourself today.
Battle of Tokina 80-200 Zooms | f/2.8 vs f/4 | VintageLensesForVideo
The Tokina 2.8 is obviously better in every way, which was not a massive surprise, but there is not that much difference by the time you get to f/5.6 in video mode. Both lenses produce pleasant bokeh and I must say, even though the bargain f/4 zoom is not as good as f/2.8, it’s still a usable lens, especially good for someone how doesn’t have any lenses covering these focal lengths any needs something that could at least cover it until the invest in better glass.