| Filmmaker Magazine
In this fourth episode of a series on the making of the low-budget independent film, Game Changers, director Rob Imbs and cinematographer Benjamin Eckstien discuss audio recording, communication between director and cinematographer, and how to plan out shooting a multi-day, multi-location project. Earlier parts consisted of an overview and then discussed fundraising, casting, camera and lighting gear.
Canon Publishes Short Film Shot on the C100 | Videomaker
1. Looking at the outdoor shots, the dynamic range appears to be pretty good. That said, they're all shot under overcast skies, so it's hard to say what kind of contrast the camera is really capable of capturing based on this film alone.
'The Hobbit: An Unexpected Journey': How Is 48 Frames Per Second? | Mike Ryan | Huffington Post
Q: Is Peter Jackson right that, even if it takes some time to get used to watching a film in 48 frames per second, you eventually do grow accustomed to it?
A: Yes and no. First, never once did I not notice that I was watching a film in a different format. Sometimes this is a good thing and sometimes this is a bad thing. But the most troubling aspect was that the first 10 minutes of the film looked sped-up.
Smooth Moves: Camera Support Systems | David G. Welton | Videomaker
When watching Hollywood films, you'll find the zoom used sparingly. Here's the reason: there's a good chance your audience will notice the zoom. Usually you don't want viewers to take note of your technical choices - you want them to pay attention to the production's message. So, if the zoom is rare, what's the alternative method to create smooth camera movement? Read on.
Why Go Remote on Your Focus? | In The Field with Redrock Micro | Blog
A remote focus unit can actually deliver better, more consistent focus results. First, because it's wireless, you are not touching the camera, eliminating any shake that could result. Second, the motors give you just the right amount of assist so changing focus is effortless. It's like power steering in your car; smooth easy movements.
How to Do a Festival Q&A | Scott Macaulay | Filmmaker Magazine
Anticipate the questions and have answers. “Think beforehand what questions are likely to be asked, and have answers for them,” Groth says. “Don’t be surprised.” Indeed, like a political candidate preparing for a debate, you should develop responses for the questions that are asked at every screening, as well as those that may be specific to your film.
Film Culture Isn’t Dead After All | A. O. Scott | New York Times
I hate to ruin a good funeral, but all of this is nonsense. The coffin is empty. The habit of issuing death notices for various cultural forms is a vivid example of sentiment and ideology masquerading as sober historical judgment. Film has been buried alive, sharing cemetery space with the novel, painting, serious theater, rock ’n’ roll and all the other still-vibrant artistic pursuits that are routinely mistaken for corpses or shambling, brain-dead zombies.