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Seeing RED at Sundance | Michael Murie | Filmmaker Magazine
RED was part of a seminar hosted by HP: 4K and Beyond: The Evolving Role of Technology in Digital Filmmaking. Moderated by Schilowitz, the panel featured a number of post software developers including Adobe, ASSIILATE and Autodesk. The seminar focused on the 4K workflow, with the message that “you can edit 4K now.”


F5 & F55 Launch Event & Workflow Technologies | Sony Professional | Vimeo
View highlights of the F5 & F55 Launch Event, and learn about some of the workflow solutions presented at Sony's DMPC (Digital Motion Picture Center) on the Sony Pictures lot in Culver City, California.


Working in True 4K with the F65: Belle - the UK's first 4K cinema production
| Andy Stout | Red Shark
"We were after a really naturalistic look for Belle, in keeping with the period," explains Smithard. "The F65 produces images which have a softer, more pleasing quality, and you could really feel the beauty of 4k. It’s the closest to film that I’ve worked with without actually being film – there really was hardly any difference. As it’s set in the late 18th century we also needed the images to show off the richness of the setting and bring the audience into the piece, and the F65 was the perfect camera for that.


Working in zero light for Zero Dark Thirty: VFX making of | Ian Failes | FX Guide
Rotor blades on the digital helicopters were something the VFX supe played close attention to. “We started with footage that had been shot of the Black Hawks, then we took our CG model and we ran out a really exhaustive series of wedges. We set our rig up so you could literally enter in an RPM value for the rotors, then ran out a series of side-by-side renders against the real footage, running at different RPMs. We found the RPM setting that matched and that became the default value that we plugged in.”


Blackmagic Cinema Camera firmware update v1.2 released | Andrew Reid | EOSHD
What’s new?
Timelapse interval recording
Canon lens F-stop display on the monitor
ExFAT file system support for SSD media
SDI output now supports RP-188 timecode


CANON EOS-1D C GETS 4K 25P UPGRADE FOR EUROPEAN USERS | Dan Chung
| DSLR News Shooter
Canon has announced the development of a feature upgrade for the groundbreaking EOS-1D C DSLR that will add support for 25p recording at the camera’s maximum 4K resolution. The upgrade has been developed after taking into account feedback from the European professional video community.


Canon 24-70mm f/4L IS Hands-on Review | DigitalRev
In this video, we take a look at Canon's 24-70mm f/4 L IS lens, which seems to fit in right between the 24-105mm f/4L IS and the Canon 24-70mm f/2.8L II. Or does it? With less range, does it seem like a worse choice than the 24-105mm, which is considerably cheaper? Watch the video to find out.


YouTube Set to Introduce Paid Subscriptions This Spring | Jason Del Rey | Ad Age
YouTube has reached out to a small group of channel producers and asked them to submit applications to create channels that users would have to pay to access. As of now it appears that the first paid channels will cost somewhere between $1 and $5 a month, two of these people said. In addition to episodic content, YouTube is also considering charging for content libraries and access to live events, a la pay-per-view, as well as self-help or financial advice shows.


Alisa Filters - Yes or No? | Martin Doppelbauer | Blog
In tests of photography magazines cameras without aliasing filters are sometimes presented as if they had a "better" resolution and possibly even receive extra test-points in the evaluation. This is complete nonsense. In the images of artificial test charts, all visible structures are measured, including false artifacts, and not just the "true" structures from the real image. There is no way to differentiate between aliasing artifacts and real parts of the image in test charts.

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