Sony A7-first look | Cinema 5D
Cinema 5D takes a look at the video capabilities of Sony's new A7, and finds it an improvement over previous Sony's (like the A99) BUT they also think that the A7r will have better video (though at $2,299.99, it better be incredible!)
I'm curious to see how the two compare, as I thought when the cameras were first announced that there were people saying that the A7 would do a better job in the video department...
Sony themselves are looking at the A7r as superior in image quality when it comes to video. For that reason a dedicated full length A7r review is coming soon. Daytime Sony A7 footage will follow soon too.
Adapting Your Canon Arsenal with Duclos | Shane Hurlbut
With Canon’s new arsenal of Cinema Primes and Cinema Zooms being either PL or EOS mount, we have a predicament here. Who has the money to buy two sets of lenses? Which rental house has all this money sitting around to engage both mounts? To my knowledge, Canon will not be making their Cinema Primes in PL. Duclos has a work around and it is excellent.
10 Directors Who Remade Their Own Movies | IndieWire
For every director who’s gone back to an old well and emerged refreshed and spruced up, there are four or five who’ve fallen victim to the standard law of diminishing returns on remakes, and in what we have to believe must be even more demoralizing fashion than if the material had at least been new to them—surely the tedium of spending another two years working on a story you’ve already spent years developing, filming, and the selling has to get to some of them.
Lens Flare Lesson: How to Achieve This Beautiful 'Mistake' | Creative Planet
The lens flares that these devices prevent are optical malfunctions that occur when a powerful light source (sunlight, for example) strikes the lens and produces visible artifacts. This technical “mistake” may appear in the form of starbursts, rings or circles in a row, or as an all-encompassing haze that washes out the image. But carefully planned lens flares can be desirable, adding dramatic effect to the shot. The key is in knowing how to channel the power of light to your advantage.
Michel Gondry on Old-School Animation, His Trademark Whimsy, and Plumbing the Mind of Noam Chomsky for Is the Man Who Is Tall Happy? | Filmmaker Magazine
In the works for four years, this self-explanatory project from the artist behind Eternal Sunshine of the Spotless Mind, Dave Chapelle’s Block Party, and a veritable library of music videos is a charming and markedly low-tech doc that literally illustrates the insights of Chomsky, one of the greatest thinkers of our time.
Creative Dynamic Link workflows with Premiere Pro and After Effects | Adobe
Get the most out of the instantly-updating Dynamic Link relationship between Premiere Pro and After Effects. With great ease, you can work on video files in both applications simultaneously, seeing updates immediately in either application, and vastly expanding your special effects and compositing toolset. This lesson shows you how easy it is to connect these two powerful applications.
LEGAL EASE: AN ENTERTAINMENT ATTORNEY ANSWERS FILMMAKERS’ MOST BURNING QUESTIONS | Film Independent
Can you please explain the difference between optioning a screenplay and buying the rights to a screenplay?“When somebody buys a screenplay, they own it. When somebody options a screenplay, you own it,” said Galsor. The question is how much they pay you to keep it off the market, he added, when it gets optioned.
Independent Film and the Reshoot | Filmmaker Magazine
If you ask me what’s the biggest difference between studio and independent productions, I wouldn’t answer the length of the shooting schedule or luxuriousness of the craft service. No, I’d say it’s the ability to do reshoots.