Shooting with a prototype of the 4K Canon DSLR:
- While we didn’t do scientific tests with the camera it feels like what the 1DC offers is definitely a step up from the DSLRs that we came from (the MK3) in terms of latitude and dynamic range.
- Again, we didn’t do scientific tests with it, but in using it for several shoots, we feel it performs noticeably better than the 5D3 and 1DX.
- The LCD on this thing feels very much in line with that of the 1DX.
BlackMagic Cinema Camera Image stabilization test | michael beck | Vimeo
I just got the 1.1 beta firmware for my BMCC and I thought I would shoot a quick test. This is shot at 300mm with IS off, the on. The audio is in camera and you can hear the IS motor running :) not surprising, don't be alarmed!This was my 70-300mm f/4.5-5 lens @300mm Hand held.
Sony NEX-VG30 Test Shots | NTcreativestudio | Vimeo
This Video was shot using Sony latest NEX-VG30 with new 18-200 power zoom lens. *Edit using FCP 7, No Colour adjustment was done.
The Impact of Cinema Cameras on a TV News Shooter on 9.26.12
| Rule Boston Camera | Vimeo
Rick is a gifted DP and has a great story to tell about shooting news and how that informs his other creative work (and vice versa):
Award-winning DP and Photojournalist Rick Macomber discusses the challenges of covering breaking news stories for TV -- from talking himself out of dangerous situations to the tools he uses and the impact of DSLR cameras on the current style of news coverage.
Moving From Part-time to Full-time Video Production | Tristan Pelligrino
| Dare Dreamer
Know your strengths. In so many cases, we are exposed to individuals who “just want experience.” I certainly appreciate this since I was in the very same frame of mind many years ago. I honestly just wanted to get my hands into everything. But, for many employers, they are looking for a specific skillset or to fulfill a specific position.
"A Liar's Autobiography" Filmmakers Switch to All Adobe Workflow for Tribute to Monty Python Member | Adobe
An animated movie produced with a variety of animation tools. Much of the work was done in After Effects, and the finished movie was assembled in After Effects and Premiere:
Made Visual Studio and Bill and Ben Productions switched to an all Adobe workflow based on Adobe Creative Suite Production Premium to bring the animated Graham Chapman memoir to life.
Setellite | PlanetVFX
On set VFX organizer for the iPad that's selling for $11.99 through 10/10: iTunes: Setellite - Planet X FX
- Collect and organize VFX specific data
- Create custom templates for your VFX forms
- Extend and manage the build-in library
- Make use of extensive reference options
- Link pictures and drawings to slates
- Export and share your data in PDF or CSV
Lightworks for Linux: The Developer's Story | Rob Fearnside | RedShark News
A new website devoted to the NLE Lightworks. This article talks about the upcoming Linux version:
The initial goal with the Linux version was to try to make it as similar to the Windows version as possible. Now, if you run the two versions side by side, it's extremely difficult to tell them apart, so in that sense, I'm very pleased with the results. Additionally, because we went through the process of splitting the code into OS dependent and independent pieces, we've ended up with a cleaner, more maintainable codebase which will benefit all of our future development across all platforms
Nine tips to avoid editing meltdown | David Shapton | RedShark News
2. Test your worklowBefore you start work on a paying project, make sure you can actually do what you said you’d do! If you’ve got a deadline to deliver a stereoscopic Blu Ray with a 5.1 soundtrack, make sure you have the tools to do the job, and that they actually work in your setup. (Off topic: Make sure you know how to do it as well!)
The Power of Serialized Storytelling | Tyler Weaver | Pencils, Pixels and the pursuit of Awesome
An excerpt from Tyler's book: Comics for Film, Games, and Animation: Using Comics to Construct Your Transmedia Storyworld:
A technique I made use of with my Whiz!Bam!Pow! project was what I call “perceived serialization.” Perceived serialization creates the illusion that the adventures of a character in a comic are ongoing, even though we only produced one comic book. By numbering the comic, Whiz!Bam!Pow! Comics #7, we implied that there were issues before and, of course, issues that followed by ending the adventures of both characters (The Sky Phantom and The Sentinel) with a cliffhanger.