Lots of interesting stuff about Logic Pro X in the latest NeedCreative Podcast, as well as some pre-Final Cut Pro X 10.1 talk:
Episode 56 is all about Logic Pro X! Ben Consoli of BC Media Productions talks to Dot Bustelo, Logic Pro expert and trainer. Then Alex Gollner (Alex4D) comes on the show to talk about how Logic Pro X works with Final Cut Pro X . We also cover all big news in the production world including a short chat with Mike Trigg, Chief Marketing Officer from Hightail, to discuss the strategy behind changing YouSendIt's name to Hightail.
Final Cut Pro X is faster! | Philip Hodgetts
A collection of quotes about Final Cut Pro X:
I turned to the director and said, ‘why do YOU think we have achieved so much in such a short time?’ He said, ‘I think its because its so visual, you really fell like you are in it’.
No compromises | Zeiss
Interesting piece about the development of a new lens at Zeiss:
The project had been discussed internally at ZEISS for a long time. The first concepts were already discussed in 2008, but it was not until 2010 that things became concrete. Back then it was clear to the experts at ZEISS that the image sensors in the new generations of cameras would make such a big leap forward that there would already be a need for corresponding high-performance lenses in the medium term.
How to Use Color Correction in Adobe Premiere with the Fast Color Corrector | ReelSEO
Quick intro to quick color correction in Premiere Pro:
Color correction is foreign to many of us. How do the pros get their images looking so rich and beautiful when mine still look kind of plain by comparison, even though I'm using a pro camera and everything? Well, the answer lies in knowing how to use your software--there are many different ways to correct color and it can take years of practice to master.
Produce Your Best Ever HD-SLR Video—6 key areas to consider | Nikon
Nikon offers their own guide to shooting video with their DSLRs:
Let’s look first at the Picture Control profile and White Balance settings to be sure the desired “look” can be achieved in-camera. Remember that with video, settings such as these are baked-in so very little can be done to correct flaws post-capture. By baked-in, the camera is applying the Picture Control profile and White Balance settings in a non-raw format so neither can be changed later.
Sony Strengthens Line-up of Next-Generation Optical Disc Archive Systems | Sony
Sony has expanded it's optical archive system with news drives. No prices, so not sure how they fit in relation to the existing model: ODS-D55U (which is expensive enough!):
The ODS-D77U and ODS-D77F bring high speed reading and writing capabilities, being able to achieve a maximum over 1Gbps* – more than twice that of Sony’s ODS-D55U. The ODS-D77U features a high speed standard USB 3.0 interface for fast and easy connections whilst the ODS-D77F features a high speed fibre channel connection to support the new Optical Disk scalable PetaSite™ libraries and storage management software providers.
Sony Delivers Enhanced Wireless Connectivity for Professional Camcorders with a new Wireless Adapter | Sony
The new wireless adapter, model CBK-WA100, is designed to significantly accelerate the News and Production workflows by enabling easy transmission of content over a wireless network significantly accelerating the ENG workflow. The CBK-WA100 adapter connects directly to a camera and allows XAVC proxy files to be created and then saved on an SD card in the adapter. The CBK-WA100 is then able to upload the proxy content and the original high-resolution content via 3G/4G/LTE/Wi-Fi* to a broadcast station, on premise server or to a cloud environment.
Short interview with Roger Deakins where he talks about British Cinematographer magazine: