Interesting news that Canon may announce something between the C100 and C300...I'm not sure if that won't just confuse people more....
The camera will sit somewhere between the EOS C100 and EOS C300, but will not be a direct replacement for the EOS C100. It will have both a PL and EF mount option. At present, no specifications for the camera have been given. Canon may also show a prototype that would come above the C500, but apparently that has yet to be decided internally.
Film Unit Behind Successful Late Night Comedy Show Embraces Adobe Video Workflow | Kathy Charneco | Pro Video Coalition
Adobe sat down with Rhys Thomas, film director and producer for the show, and Adam Epstein, freelance editor for the film unit, to talk about how they recently switched to using Adobe Creative Suite Production Premium to bring fresh video content to SNL fans each week—all in a three-day turnaround.
How To Get Film Work Without Experience | Elliot Grove | Rain Dance
Be very clear about the value that you need to receive in kind: it is for your resume, and be clear about the type of wording that you want on the resume. Compensation is about value received for value given – and you’re thinking too narrowly if you define value only in monetary terms.
The Cost of a Webseries | Freddie Wong | Rocket Jump
All said and done, VGHS Season One cost $636,010.71.
While this amount initially seems like a lot of money, the truth is, it’s not. VGHS was a six-month project with a cast and crew of over 160 people. We had over six hundred visual effects shots, shot in numerous locations throughout Southern California, and a significant portion of our final two-hour runtime were high production value action scenes.
Behind the Scenes Canon C500 & Gemini 4:4:4 Test Shoot - Magnanimous Media
Jonah Rubash, Craig Maltby, Corey Lillard, Patrick Charles, and Teddy Hoffman take the Canon C500 out for a test shoot at English Bar and Restaurant in Chicago, IL.BTS Shot by Kevin Larson on the Canon C100.
Conversations with Blocked Filmmakers | Scott Macaulay | Filmmaker Magazine
If you're stalled on a project, Filmmaker Magazine would like to talk to you...
I’ve decided to invite several filmmakers who have been struggling, so far unsuccessfully, to make their films to discuss those projects here on the site. I’ll be interested in the films, the length of the development process, the avenues tried, and the possible reasons for the projects’ failure to launch. I’ll also be interested in the filmmakers’ coping mechanisms and their honest assessment of the process’s impact on their own lives.
Hands on with the PROCUTX app for Final Cut Pro X | Scott Simmons
| Pro Video Coalition
PROCUTX suffers from the same problem that
any and every* most other iPad control surface / button emulator suffers from (and I’ve tried a lot of them): You’re constantly having to look back down at the iPad to use the damn thing.
Vector Based Video and Death of The Pixel Within 5 Years | Admin
A codec is a computer programme capable of encoding or decoding a digital video stream. The researchers at Bath have developed a new, highly sophisticated codec which is able to create and fill between contours, overcoming the problems preventing their widespread use. The result is a resolution-independent form of movie or image, capable of the highest visual quality but without a pixel in sight.
ALEXA shines at 27th ASC awards | ARRI
Roger Deakins, ASC, BSC claimed top honors in the feature film category at the 27th Annual American Society of Cinematographers (ASC) Awards for Outstanding Achievement, which was held Feb. 10 at the Grand Ballroom at Hollywood & Highland. SKYFALL was the first production to capture on ALEXA Studio cameras; the project also employed ALEXA Plus and M models supplied by ARRI Media in London.
GoPro: Director's Cut - Shark Riders | YouTube
Pretty amazing underwater footage shot on the GoPro Hero2.