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Something else: There is a rumor about a new Full Frame Sony NXcam
| SonyAlphaRumors
I hope it's not just a rebranded NEX-VG900:
One SAR source heard that a new “full frame professional NXCAM” will be announced for the upcoming NAB show in Las Vegas (April).


10 Lessons on Filmmaking from Beasts of the Southern Wild’s Benh Zeitlin
| Ariston Anderson | Filmmaker Magazine
2. Your film must be a done deal. Only the journey is negotiableThe mentality for our feature was always that we were going to make the film, no matter what. There was never this thing where we were going to write the script and then wait till someone gave us the money. It was always we’re going to make it, and here’s the starting date. If we get the money we’ll make it bigger. If we don’t get the money we’ll shoot it with our cellphones.


Film Scene: Shooting a multicam DSLR rock concert music video production
| Tony Reale
I used what was available to me which was a Canon XA10, 2x Canon 5D MkIIs, Canon 60D and a GoPro. We also had my Kessler Pocket Jib and a DIY dolly. As I plotted out the shoot, I realized to get a the fast pacing that they wanted, we’d need more footage than we would get just from 4 or 5 cameras. 


Filmmaking Tips From the Disney Masters! | Jonathan Cooper | Young Cuts
#1. Find a Hook for Your Character - Andreas DejaUse your life experience when making artistic choices
Draw on your memories to add depth to characters
Always ask: what is this character thinking and why is he thinking that way?


Instant Expert: Make it Slow, Fast or Timelapse: An Assortment of Products for Off-Speed Production | Ned Soltz | Creative Planet Network
A table of information about motion control software and hardware.



FCP X: Send Audio to Audition to Mix | Larry Jordan | Blog
If ProTools is your tool of choice, you’ll need to use X2Pro, from Marquis Broadcast. Check their website for tutorials.However, my preferred audio tool is Adobe Audition, so this article shows you how to get audio out of FCP X, into Audition, then the final mix back to FCP X.


Sharing Final Cut Pro X Projects | Jordan | Phantom Moose Films
Once you know how, it’s simple to share a project between editors in FCP X. In some ways, it’s even simpler than FCP 7, because if you keep everything in the same event, you’ll be reconnecting media each time with just a few clicks, rather than searching over multiple locations for different sets of files.


Quick Tip: How Does Shutter Speed Affect Video? | Rob Taylor | TutsPlus
1. 24 or 25 Frames per SecondIf you’re shooting for that filmic look, you should ideally be shooting at 24 frames a second (or 23.976, as is often the case on HDSLRs). If you’re looking to shoot for TV, shoot at 25p (that is, 25fps, progressive scan) in PAL countries and 30p in NTSC countries. Usually regional firmware variants enforce this distinction anyway. Why does the frame rate matter? That takes us to point two:


Films Using Arri Equipment Win Big On Oscar Night | Creative COW
Argo took home Best Picture honors as well as Editing and Adapted Screenplay, while Life of Pi was awarded Best Director, Cinematography and VFX Oscars®. ARGO used a hybrid of film and digital, capturing with ARRICAM, ARRIFLEX 435, 235 and ALEXA; the lighting package was provided by Illumination Dynamics. LIFE OF PI was captured in stereoscopic on multiple ALEXAs with ARRI/ZEISS Master Primes using Cameron Pace 3D rigs.


First Look. Digital Bolex D16 Lenses From Kish Optics | Wide Open Camera
Here is a quick take lens test with the brand new Kish Optics Digital Bolex D16 lenses. The lineup consists of a 10mm, 18mm and 38mm all fixed aperture of f4.0 with a screw in C-mount camera mount. Kish designed the optics specifically to compensate for the sensor on the digital bolex. 


Creating Backgrounds – Thumbnails and Reference Material | Pencils, Pixels and the pursuit of Awesomeness
In Elvin A. Hernandez’s new book Set The Action! Creating Backgrounds for Compelling Storytelling in Animation, Comics, and Games he discusses designing backgrounds that make character and story development more dynamic and realistic. Elvin put together a series of videos that provide some great tips and techniques for background development.  In this first video, Elvin takes a look at the importance of reference materials and creating thumbnails in preparation of background design.

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