I’m reading the script for the first time, thinking – “We’re supposed to shoot all of this…TOMORROW?” The script was written by Zach Kanin and Colin Jost – two of my favorite writers at the show – and the scale of the spot was massive. It was essentially: Ancient Rome and the Holy Land, to be shot in New York City with a few hours of scouting.
Canon EOS C100 review – an underestimated cinema camera | Cinema 5D
Here’s a camera I can truly recommend. It has no big red labels screaming things like 4K, 12bit, or 3D for that matter (that was last year’s hype), in fact it has nothing too fancy about it: It’s HD, it does 30p max and has a mediocre file compression system. But don’t be fooled by technical specs, because this camera is superb within its boundaries and a surprisingly strong, well rounded tool from top to bottom.
UPCOMING WEBINARS | Assimilate
Shooting, Color and Post with the Sony F5, F55 and F65
Wednesday, May 29, 2013 - 10:00 PST
Join DP Tomas Tucker and Alex MacLean, colorist from Colorflow, as they guide you through their experience with one of the most in-depth camera tests ever of the Sony CineAlta camera family. Alex will use SCRATCH to illustrate and discuss the post-production workflows around each camera and detail his experience color grading, compositing and finishing images from all three.
Working with C300 LOG Footage in FCP7 – Plus Free LUTS | Jonny Elwyn
The other day I had to work with some C300 LOG footage in FCP7 and needed to quickly apply a LUT that would show the client what it might actually look like in the final grade. For a simple free way of doing this just grab LUT Buddy from Red Giant Software and follow the tutorial below. You can also download several free Canon C300 LOG LUTS from the great people at AbleCine.
1080P RAW Video Now Possible on Canon 5D Mark III & Real Anamorphic Shooting with the New Hack | Joe Marine | No Film School
Not only do we have news that RAW video at 24fps is possible on the Canon 5D Mark III, but we now know it’s possible to get a full 1920 x 1080 image with 1000x speed cards. The first samples were possible by cropping the image to 1920 x 820, but g3gg0 from Magic Lantern has unlocked a way to get the entire image — the full 1920 x 1080.
OPINION: WHY DAVINCI RESOLVE 10 IS SUCH A BIG DEAL | Movie Machine
The reason I’m excited is because Resolve will now feature an editor as part of the offering. The editor within Resolve has been talked abut as an Online Editor – which means to produce final pristine output, complete with titles, graded content and what effects you want to include.
Canon 5d mark III clean HDMI output compared to ALL-I in camera
| DSLR Film Noobs
The disappointing part for me is that the HDMI signal doesn’t contain audio. I haven’t had many issues with the detail in the images provided by the 5dmkIII, but it would have been really handy to capture 4 tracks of audio with the ninja and have them all conveniently rolled into the a single clip.
John Toll, ASC Shoots IRON MAN 3 | ARRI News
John Toll, ASC recently turned his considerable talents to the cinematography of IRON MAN, Marvel Entertainment’s latest installment of the odyssey of the brash, brilliant industrialist Tony Stark. Robert Downey, Jr. returned in the title role and Shane Black directed. The movie’s box office take was the second highest opening ever for a film. For Toll, the project was memorable not least because it was his first feature film shot on digital cameras.
Audio101 - What is a Submix | FILM...SOUND...COLOR | Vimeo
that is just a basic overview ... i show you what it means to make a "submix" and how you can use that for a film mix or for a quick sound mix of an interview session with more than one interviewee. i used LogicPro for the film mix and Adobe Audition CS6 of the Interview session.
The Basics of Lighting for Film Noir from FilmmakerIQ.com on Vimeo.