RODE INTRODUCE THE VIDEOMIC GO – A LIGHT, COMPACT AND BATTERY-LESS MINI SHOTGUN MIC | News Shooter
A new small and light mic intended for basic portable recording, and it's just $99:
The mic weighs a mere 73g (2.5oz) and also equipped with the excellent Rycote Lyre suspension system similar to that on the latest VideoMic. This eliminates a lot handling noise and the occasional bump by isolating the mic effectively from the camera.
New H.265 codec on test – ProRes 4444 quality for 1% of the file size | EOSHD
CineMartin are the first company I know of to give us H.265 HEVC (High Efficiency Video Coding) conversion with the just-announced CINEC v2.7. It supports up to 4K resolution and you can try it today.
In case you live at 12 Under Rock Drive, the H.265 standard is the biggest codec of the decade. It supersedes today’s most common codec for encoding and internet delivery of video (H.264) and makes 4K recording to SD cards possible on DSLRs.
Perspective Control and Tilt-Shift Lenses | B & H
Tilt-shift offers a hands-on approach to optical manipulation and perspective control. Tilt determines the plane of focus by allowing you to point a lens at an angle other than perpendicular to the image plane. As a normal lens can only focus on a singular plane, the areas of sharpness in a photo will be the same distance from the camera. With tilt, focal points become pliable.
The Letus Anamorphx Adapter – Part 1 | Wide Open Camera
Unless you were a big time filmmaker you probably would never have the opportunity to see an anamorphic lens, never mind using one. However within the past two years things have changed. Filmmakers started to revisit the idea of 2:40:1 as the resolution of cameras increased but number of pixels wasted on the top and bottom of a 16:9 image (to make a 2.40:1 widescreen frame) did not. Everyone was throwing away resolution that could be retained by squeezing the image into the same area.
Rethinking the Value of the Short Film: an Open Letter to Vimeo by Robin Schmidt | No Film School
I’ve heard many arguments over the years extolling great ways to monetize short films. But no one wants to pay to watch short films. I have to ask myself honestly whether I would donate money through the Tip Jar on Vimeo or not and the answer is no. I’ve funded many crowdsourcing campaigns, but I don’t feel moved to donate to a finished project. The value proposition is all wrong for a selfish consumer – What’s in it for me?
Watch: 45-Minute Roundtable With Cinematographers For '12 Years A Slave,' 'Inside Llewyn Davis' & More | IndieWire
Barry Ackroyd ("Captain Phillips"), Sean Bobbitt ("12 Years a Slave"), Bruno Delbonnel ("Inside Llewyn Davis"), Stuart Dryburgh ("The Secret Life of Walter Mitty") and Phedon Papamichael ("Nebraska") take part in the conversation about their approach to the job, building relationships with filmmakers and the ever present issue of 3D (a discussion that seems lacking without the participation of "Gravity" lenser Emmanuel Lubezki).
Reality TV’s worker scandal: Shows accused of stealing millions in wages | Salon.com
“I’ve worked up to 20 days straight, at least 16 hour days, with no time off and received the same pay [as] had I worked a regular 5 day, 40 hour work week,” wrote one unnamed respondent. WGAE alleges that the industry evades accountability in part by wrongly classifying employees as “independent contractors” or “supervisors” rather than rank-and-file employees.
CREATE LIGHT SMEARS AND LEAKS WITH A SANDWICH BAG | Filmmaker IQ
A cheap way to create some interesting light effects.
Filmmaker Ty Evans took our Movi M10 and Red Epic out to shoot a few skateboarders out in Los Angeles. The Arri/ Zeiss Ultra Prime 8R lens was used to capture the action.