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You Don't Have to Go to Film School to Make It: A List of Film Schools 2013 Sundance Directors Attended | BRYCE J. RENNINGER | Indiewire
64 filmmakers responded, and the results may be surprising. 29 said they had no formal training in filmmaking. Some learned skills in design or photography school or as journalists but had no formal film school education.  The most popular film school from the filmmakers we surveyed was NYU, which had seven respondents.


My Review of the Blackmagic Cinema Camera | Daniel Freytag | Blog
It's a nice camera with nice images. But it's not that unicorn what everyone expected. I think there are simply to many disadvantages to use it for my productions. It has some nice things like 10-bit SDI out, 2.5K RAW recording with 13 stops of DR but on the other hand it has a huge crop-factor, it doesn't have 50/60p and the battery solution is not optimal.


Canon EOS 1DC test short “Hyber Nation” & review | Nino Leitner | Blog
Last but not least, the banding in ISOs lower than 400 is something that needs to be addressed via firmware updates by Canon. It’s a serious issue and really hampers your possibilities, forcing you to use strong ND filters (or faders) when shooting out in the sun. The native ISO of the 1DC is unknown to my knowledge, but I assume it will be around 800 or 850 like on the other C cameras, so it would be best to stick around that as much as possible – yet it would still be nice to be able to use the lower ISO’s if need be.


Festival Cinematography Notes – At Sundance, Alexa Rising | David Leitner | Filmmaker Magazine
I was struck by how little any of this has to do with indie filmmaking alone. As a token of digital revolution, RED cameras are so five years ago. It’s hard to storm the ramparts when last year’s #5 and #7 box office hits were shot with RED Epics (The Hobbit: An Unexpected Journey, The Amazing Spider-Man).


Higher dynamic range will boost quality more than ultra HD | Philip Hunter | Broadcast Engineering
Disney's vice-president of production technology, Howard Lukk, argued that of the three so-called competitive H’s — High Frame Rate, High Dynamic Range and High Resolution — it was the range that would make the biggest difference to the QoE (Quality of Experience) over the next few years.


Send work from Premiere Pro to After Effects | AdobeTV
There are several ways to send your creative work from Premiere Pro to After Effects, and this lesson will walk you through all of them.


After Effects Lately 2013.01.31 | Rich Young | ProVideoCoalition
Here's some of the last few weeks or so of assorted After Effects tutorials, tips, and scripts & plug-ins new and old.



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