Monday, February 25, 2013

Quick Links

Turning the Black Magic Cinema Camera into a Movie Making Machine
| Shane Hurlbut | Hurlblog
I love that this camera fell into a nice color palette and delivered pretty good skin tones, as well as holding the sky. Some of it felt a little clippy in the over exposure, but again, I was going to eye and trying to figure it out. I would say that I exposed a little hot. Many people told me not to starve this camera of light, but I think I went a little too far. With that said, the image holds up for a $3K camera

Blackmagic Film to Video plugin by Antler Post | Adam Roberts | Blog
Over the last few weeks I’ve been beta testing a Final Cut Pro X plugin developed by Nick Shaw over at Antler Post-Production Services.The plugin is a great workflow tool for Final Cut Pro X (FCPX) users who are working with footage from the Blackmagic Cinema Camera (BMCC) that will be delivered to television.

At the Bench: Introduction to the Sony PMW-F55 | Andy Shipsides | AbelCine
Sony has just started shipping their new F5 and F55 cameras, so I thought the timing was perfect for an At the Bench video. The cameras are so packed full of features that I opted for two 15-minute videos to cover the camera system. The first video goes over the F55′s form, function and IO capabilities, while the second covers its menu system, various recording modes and output options.

Make it Beautiful: The Workflow of a Professional Film and Video Colorist
| Robbie Carman | Power To Create
“In my room, all my gear is centered around monitoring and control,” said Carman.  “ A reference monitor lets me ensure I know with 100% accuracy what shots really look like.”Robbie runs DaVinci Resolve so he has the full set of panels from Blackmagic Design.  The control surface makes it much easier to quickly dial in fine adjustments and crank through hundreds of shots in a work day.

The Sunday Conversation: Malik Bendjelloul | Irene Lacher | LA Times
Yes, because I totally ran out of money. I started to shoot the film with a Super 8 camera. It looks vintage. It's just a couple of hundred dollars to film and develop Super 8, but I didn't even have that. Then one day I discovered a Super 8 app for my iPhone. It was $1 and I tried it and it looked the same. I did quite a few shoots with that iPhone.
This article says it was also shot on the Sony EX1:
An Oscar Nomination For “Searching For Sugar Man,” Shot On Sony’s PMW-EX1 | Jason Eng | Sony Blog
“Searching for Sugar Man,” a film that was shot on the Sony PMW-EX1 XDCAM camcorder and documents the search by two South African fans for legendary musician Sixto Diaz Rodriguez, is nominated for a Best Documentary Academy Award tonight.

The Panasonic AG-AC160A or the JVC GY-HM600 a question I am frequently asked | Philip Johnston | HD Warrior
Lastly if there is one single item that would sway me one way or other it would be customer service…JVC have excelled at upgrading the 600 camera with at least 3 FW upgrades over the last two months, I mentioned that in order for the flash banding to work you need to switch off the shutter which could be a pain when filming at a wedding so JVC have upgraded the software to have the shutter off as default which means the camera is always set to 50 fps in default mode.

ProRes vs ProRes – A first look at uncompressed HDMI with the Nikon D5200 vs the Blackmagic Cinema Camera | Andrew Reid | EOSHD
Compared to the Blackmagic Cinema Camera which outputs real 4:2:2 1080p in ProRes format, there’s far more detail from the Cinema Camera’s image and no evidence of weak 4:2:0 sampling like there is on the D5200. The image is nice and clean up to ISO 800 on the Cinema Camera and at ISO 1600 the noise grain is nicer on the Blackmagic but the D5200 is a bit smoother looking.

Nascar tries to ban fan's YouTube video of Daytona crash | Chris Matyszczyk
| C|Net
It's hard to imagine that, on seeing yesterday's carnage at Daytona when scores of spectators were hurt after debris from a crash flew a fence, someone at Nascar would have been thinking about a vital matter such as copyright infringement.Yet it seems that one no-doubt harassed Nascar operative did exactly that and demanded that a video taken by a spectator and posted to YouTube be removed.

Robbed at the Oscars | Stu Maschwitz | Prolost
A film that should have won didn’t, so that film was robbed. I can’t believe the Academy failed to recognize his performance.Here’s the thing: The right films always win at the Oscars. Because the Oscars are a popularity contest. You should no more lament “incorrect” Oscar results than you should question who was awarded prom queen.

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