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Monday, January 14, 2013

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NEW Production shot on the F5 "The Contract" | Robb Kositchek & Rodney Allen Hooks | Sony Community
We seriously pushed this camera to it’s limits and took advantage of it’s compactness. This is important to me that we be able to create wonderfully lit scenarios without being overwhelmed with hardware and technology.  Freedom to create and be flexible is a hallmark of the Sony F5 Camera family.


Documentary Filmmaking with the Canon C300 | Bobby Marko | Blog
Here is a wrap up video to show how I used the Canon C300 on my latest documentary feature film ‘Becoming Fools’ with director Scott Moore and the Athentikos team.
[...] This video gives some details on what we used to shoot the film, how I used the C300 during the production and some example footage from the camera. The footage from the C300 has not been fully colored but for this video I did do some simple 1st passes to even out levels and to mainly give Adobe Speedgrade a try as I am testing options for coloring the actual film.


The Chinese Kineraw Mini S35 Camera - A new rival to Blackmagic Design Cinema Camera | Dan Chung | DSLR News Shooter
How is this done? this camera does away with the KineRAW S35‘s built in CineForm encoder – the new model only records Cinema DNG internally. It is fanless and has no built in LCD, meaning an externalHDMI monitor or EVF is essential for operating the camera. For these reasons it also has much lower power consumption than the original S35 camera. There will also be an accessory handgrip for a battery.


The adaptor that claims to make your lens, faster, wider and better!!
| James Miller | Philip Bloom
In essence, it’s an optical adapter that attaches to the E mount of a Sony NEX camera (Super 35 sensor) and then to a full frame SLR lens. The Metabones ‘Speed Booster’ is a 0.71 x focal reducer, that will effecively turn your full frame 50mm f/1.8 lens into a 35mm f/1.2 lens. Note, in doing so (as a guide) will increase the aperture of that lens by one stop. Your Sony NEX Super 35 E-Mount will effectively have near full frame coverage. It also serves ‘double-duty’ as a lens mount adapter, from Canon EF lens (but not EF-S) to Sony NEX, with auto-aperture, image stabilisation.


How to put together the ultimate lighting kit that's small enough for world travel | Shmuel Hoffman | Blog
Now a few months into various productions, I finally found my light kit. It fulfills my two main requirements:
1. They are all LED’s.
2. They are so compact, cool, and light that I can travel with them around the world without adding much weight and size to my normal production luggage.
The whole 3-point light kit fits into a little suitcase and weights less then 4 LB, or 2 Kg. How much power do these lights output? According to Litepanels they output around 1000W.  Not only that, I use them battery-powered on location.


A simple DSLR lighting solution that just works (Neewer LED panel test)
| Clinton Stark | StarkInSider
There’s many panels available today, with prices all over the map. I was just dabbling for starters so I ordered this Neewer LED Panel for around $38. At that price I didn’t expect much performance. Why not give it a shot, what was there to lose? At the worst I could learn from my experience and make a better informed decision in the near future.
Was I surprised or what.


Why I think Canon have forgotten the indie filmmaker | Andrew Reid | EOSHD
4K isn’t the main thing at stake here. I’d be happy finally getting GOOD 4:2:2 1080p on a full frame DSLR with no moire or softness. They still haven’t given us even a decent 1080p image. None of the 8bit outputs of the DSLRs hold a candle to what the Blackmagic Cinema Camera looks like in ProRes let alone raw, for $3000.


Film Convert – adding grain and a true film feel to your HD video | Den Lennie
| F-Stop Academy
The film simulation, however, is where this tool stands out. Unlike other film emulators, FilmConvert takes pains to measure not only the film stock itself but also the full sensor and exposure response of the camera systems as well. With native support for the RED cinema camera, the Canon 5D, and the Panasonic GH2, and with more cameras on the way, this method of simulation provides significantly better accuracy. 


Assembling a Green Screen Video That Looks Great | Richard Harrington | Adorama
In earlier episodes Rich gave you some important tips on lighting, shooting, and processing backgrounds for your green screen project.  Now we put it all together.
The key to a great green screen is a combination of how you shoot and how you post process your material.  In this episode, prepared exclusively for AdramaTV, join Rich Harrington as he shows you how all these pieces come together when keying in editing software, such as Final Cut Pro X.


Put Sound and DSLR Video Together Easily in Adobe Premier Pro
| Richard Harrington | Adorama
Rich shares the post-production process for the final edit in Adobe Premiere Pro. Watch as he takes you through the steps to use Premiere's built-in method of syncing sound. Then, follow along as he explains a way to use popular programs, such as Plural Eyes, for those high volume projects.


Audio Visualization in Adobe After Effects: Introduction | Evan Abrams | YouTube
This short provides navigation to two tutorials; one on creating an Audio Waveform in Adobe After Effects, and the other on creating an Audio Spectrum.

2 comments:

AnticipateMedia said...

Wow that EOSHd is an unabashed moron. Does this guy even shoot anything? Does he realize the costs of actual production and how good we have things? Has he even held a C300 or C100? My goodness, reposting this drivel serves no one.

H. Paul said...

It's so well known by so many of us to simply ignore him...