INTER BEE 2013: TESTING THE CANON C100 DUAL PIXEL CMOS AF | News Shooter
I have to say I am tremendously impressed with the results. It seems quite responsive without looking like a mechanical movement. In our tests we let the camera try to track the subject continuously to see how well it coped, but I think my preference would be to set the autofocus to only active when the Push AF button is pressed. It is however a shame that the AF box is currently locked to the centre of the frame and is not movable.
INTER BEE 2013: NEW FOSTEX AUDIO ADAPTERS FOR DSLR AND IPHONE | News Shooter
Fostex are an established maker of audio products and are best known for their range of sound recorders. At Inter BEE they were showing several new products – a simple minijack stereo mic adapter called the AR101 for iPhone and DSLR, and the AR501 XLR phantom power adapter that optionally connects to the AR701 fader and AR704 mixer units.
INTER BEE 2013 LIVE SHOW REPLAY: SONY PROSUMER MANAGER MR TAKURO TALKS ABOUT THEIR STRATEGY FOR DEVELOPING THEIR NEX AND 4K PRODUCTS | News Shooter
In this 17 minute video, Dan interviews Mr Takuro of Sony, a Product Planner for the digital imaging group in charge of semi-pro and professional camcorders. The discussion starts with the PXW-Z100, Sony’s first 4K handicam camcorder, and he makes some interesting comments about the Atomos Samurai.
When asked about the new RX10 and it's interesting combination of features he says that "the person that planned this camera used to work on the professional cameras."
There's some discussion about Sony's divisions, how soon we'll be all using 4K, whether prosumers want RAW, he pretty much ignores a chance to talk about 3D, and they also talk about the future of camera stabilization.
You're not really going to learn much about products or what's coming, but it does give you a bit of a sense of how Sony does things.
XEffects Panel Flip 2: Free Transition Plugin for Final Cut Pro X FCPX | idustrial revolution
Panel Flip 2 is a free transition plugin for Final Cut Pro X that follows on from the first Panel Flip.
This time, the screen is split into two horizontally, then the two panels twist on the Y axis to reveal the incoming video or media. There are controls for timing, so both panels can rotate together, one after the other or staggered. There is a rotation direction control for each of the panels and a slider to adjust the acceleration of the twist.
Top 14 tips for getting KILLER stills that will help sell your film | Chris Jones Blog
1. Understand that this is not art… pictures should look like the movieGet photos that look like they are from the movie – tone, lighting, mood, action. You need an image that authentically captures the spirit of the directors vision as well as genre and central premise.
"What is a Colorist?" from icolorist | vimeo
Interesting short video that explains what color grading is all about (for those who don't know.)
BMPCC RAW in NOKTON | moribun | Vimeo
More Blackmagic Pocket Cinema Camera footage:
I tried the OpenFX “FilmConvert Pro” in DaVinci Resolve. And I adjusted some exposure and saturation.
①Shooting with the "Lossless compressed CinemaDNG RAW” file.
②Importing the CinemaDNG RAW file to DaVinci Resolve, and exporting as the ProRes422 file.
③Importing the ProRes422 file to FCP X and editing.
④Exporting XML file from FCP X.
⑤Importing XML file to DaVinci Resolve.
⑥Color Correcting & Grading in DaVinci Resolve.
⑦Round trip to FCP X.
Fall in Raw Pocket | Ignacio Sanchez | Vimeo
And another BMPCC shot:
I feel this camera is intended to work best with 16mm and Super16 lenses, they have the vintage soft look I am always searching for. The modern m4/3 lenses look to me very harsh, too sharp and very contrasty. I´m glad I had plenty of 16mm glasses from the Bolex days, all of them waiting to release in the Pocket world.
Ludovico Bettarello compares 8 different cameras: Nikon D5200, Blackmagic Cinema Camera, Nikon D500, Canon 5D MkIII, Canon C500, Sony F55, Red Epic and Arri Alexa.