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Friday, May 17, 2013

More Canon 5D raw news & Quick Links

Workflow video: Simple post processing of 5D Mark III RAW footage in OSX | Cinema 5D
Sebastian here has found a much more straightforward way to post process the raw files from the 5D Mark III which allows us to skip the relatively cumbersome After Effects conversion process. This new process only utilizes Adobe Photoshop’s raw import module


New 5D Raw developments – plus my low light comparison with Blackmagic Cinema Camera | Andrew Reid | EOSHD
The 4GB file size limit of FAT32 prevents continuous takes over 40 seconds currently. I asked Alex of Magic Lantern about overcoming this and he says it is perfectly possible but not a current priority. There’s a lot that comes before it – even basic stuff like assigning raw recording to a physical button. 
Wait! What? You can only record 40 seconds at the moment? How'd I miss that?



Easier 5D Mark III raw guide in 4 steps | Andrew Reid | EOSHD
For 1080p will need a 1000x speed card, preferably 64GB as some of the higher capacity 128GB cards currently have issues with lower than expected write speeds.
Mac users should use Mac Boot to prepare the card, whilst Windows users can use EOS Card. These apps are in the main zip you just downloaded. Only one download required in this guide.


Why I Don’t Care About Raw Video from the 5D | Nate Weber
| Wide Open Camera
For me, it changes nothing. I have done the magic lantern thing with my T2i, it brought an impressive array of features to a budget camera. I don’t think it really made it a good enough tool to still bring onto sets though, in 2011 or now. It’s stable for a hack but it voids your warranty and didn’t raise the quality of the video enough to validate its inherent risk.


The Rest


Adobe After Effects CC: Warp Stabilizer VFX | Adobe
A major upgrade to the much-loved Warp Stabilizer, VFX adds the ability to choose which objects within a scene get stabilized, reverse a stabilization, and preserve a scene's original scale to fix tricky shots such as aerial fly-throughs.


Editing long form with FCPX…PART ONE | Philip Johnston | HD Warrior
I came to a halt when a client had DV footage to edit as we all know FCPX does not entertain ingesting footage that was not shot on a card but you can import footage so my problem was how to get DV footage into my Mac. After extensive research I opted for a Black Magic Design board that would bring my HD footage via HDMI


Cinematographer Profile: David Kruta | IMVDb
Inspiration as a filmmaker can come from all different places. For DP David Kruta, he was able to succeed in his current career by drawing influence from his previous careers, including his time spent as a graphic designer and as a dish washer. Since his days washing dishes, David has gone on to work as a DP in the film world, the commercial world, and in the music video world with directors like Michael Lawrence, Grant Singer and Eli Stonberg.


THE HISTORY AND SCIENCE OF COLOR TEMPERATURE | FilmmakerIQ
Color can carry a lot emotional information in film – one type of information it can convey a sense of temperature. Learn about history and science behind Color Temperature. it’s application for opposite effects in Spike Lee’s “Do the Right Thing” and the Coen Brother’s “Fargo” and how you can apply them in your own productions.


New Lens Turbo NEX adapter auctions (Minolta, Canon, Nikon and Pentax). And first impression report | SonyAlphaRumors
Optically it’s better than I expected. I took a few pictures with the Lens Turbo and with a dumb adapter from the same distance, only changing the FL to get the same FOV. The images looked sharper with Lens Turbo than with a dumb adapter, though I didn’t do any measurements, so I don’t know yet if the resolution or contrast improved or the lens is simply better on the long end. 


Massachusetts Production Coalition: Legal Seminar: Saturday, May 18th
Coffee & Bagels at 9:30 AM. Seminars from 10:00 AM – 12:00 Noon
High Output Studios
The May 18th Legal Seminar will cover the rights, releases, licenses and agreements required by film and media makers to distribute their projects – including planning for festival and theatrical exhibition, broadcast, internet and other distribution. The panel will address legal and business issues that arise during the development and production process.The discussion will cover topics such as production contracts, copyright, trademark and rights clearances, fair use, privacy and distribution agreements among other considerations.

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