Wednesday, October 10, 2012

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(SR3) NEX-FS700: 4K upgrade coming next Thursday? | SonyAlphaRumors
We know that the 4K announcement for the Sony NEW-FS700 is supposed to happen sometime in the next month - could it be this Thursday?:
The first news is related to the Sony NEX-FS700 camera. An anonymous source just told me that there will be a new 4K upgrade coming on Thursday! Leòt’s hope this is true!

Premiere Pro CS6 “Media Pending” | Philip Johnston | HD Warrior
I had some problems with Premiere and .MT2 files a while back. I wonder if this "fix" might have solved that:
If you are editing in Premiere Pro CS6 and get a “Media Pending” after importing a file, look at the file structure to see if there is more than one MXF file in the folder. I waited over 10 minutes for the “pending” to disappear on a file that was less than 60s long.

TILTA CAMERA RIG REVIEW | Rick Macomber | Vimeo
Rick showed me this rig the other day, and it certainly looked impressive:
A Chinese company named Team Tilta has designed a new camera rig system that looks like something out of a Terminator film. On par with other top manufacturers in its build quality, its price point kills the competition! And it’s not just a flesh wound. Its HALF the cost! The Quick Release Baseplate is made of aircraft grade aluminum. This thing is solid. It comes with a shoulder pad and a heavy duty V-mount quick release shoe that works on standard broadcast ENG tripod plates. Open base quick locks mount the baseplate to the included 15mm rails. Price? $280 US

Picking the Right Camera for the Job | Ron Dawson | Dare Dreamer
Post production: what kind of post production processes do you have in the works? Do you have the computer power and data storage necessary to edit raw video like what the RED spits out? Are you shooting a film that has a lot of visual effects or green screen, requiring a higher color space or bit-depth video quality?

Testing times for the D800 | David Shapton | Red Shark News
More about the Nikon D800 and whether it's suitable for the BBC:
Why does an "expensive" camera like the D800 have these issues? Firstly, because the sensor has a different resolution to the video it is outputting. One to one pixel ratios between sensors and the output image will usually give the best results. Secondly, the electronics needed to downscale well are expensive and power-consuming. Neither of which are good characteristics for a camera that is not exactly cheap but which would probably not sell if it were two or three times the price - and nor would it be viable if the battery only lasted a few minutes.

“If not now when” Music Documentary shot on C300 now online | Philip Bloom
So why the C300?
It’s my favourite camera…easily. Why? First off, I adore the image. Detailed, great dynamic range and quite resistant to banding. It has a strong internal codec. It works handheld without a rig (no hanheld in this version, but in the long version which has a lot more footage actually). The ergonomics are amazing compared to the competition. Excellent audio handling too! 

The Videographers Guide Ep. 1 - The Music Video | TheVGuide
The Videographers Guide is a documentary web series where we document young filmmakers as they produce short videos for the web in a variety of genres. We want to pull back the veil that shrouds the new media landscape by providing valuable information from other filmmakers who are on the front lines.

Deadline Approaching For Biennale College - Cinema Microbudget Production Program | Scott Macaulay | Filmmaker Magazine
The deadline of October 22 is fast approaching for the Biennale College – Cinema, a new initiative open to first and second-time directors that will lead to the production of three micro-budget films. In a program led by the Venice Biennale in partnership with Gucci, 15 producer-director teams will take part in a ten-day filmmaking workshop, after which three projects will be selected for further development and production funding in the amount of €150,000.

Can California remain the world's movie capital? Filmmakers, execs weigh in on tax incentives | Adam B. Vary |
For years now, many of the year’s biggest and most acclaimed movies have barely been made in Hollywood, greater Los Angeles, or California — if at all. Thanks in part to generous tax breaks in states like Louisiana and New York — not to mention countries like Canada and Australia — feature film production in the Los Angeles area dropped an estimated 41 percent from 1996 to 2007

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