Philip was challenged to produce something using a cheap camera....a very cheap camera!
I put the .AVI file (yes .avi) onto a 720p 25p timeline and upscaled it by 300%..my god it looked AWFUL!! Premiere CC just sort of accepted the odd framerate no problem and with this Super 8mm like frame rate I had to see if my go to plugin FILMCONVERT with a Super 8mm film stock could reduce the awfulness…and guess what? It did as you can see below!
Sony RX10 Review: A First-Rate Camera With a Do-It-All Lens | Gizmodo
A positive review of the Sony RX10:
The RX10, on the other hand, samples the entire sensor's raw data, then downscales to HD resolution using the powerful Bionz X processor. It works great. We found the RX10's video detail to be almost at the level of the Canon 5D Mark III, the camera most pro DSLR shooters spring for. You won't get the creamy ultra-shallow depth-of-field, or quite the same low-light performance as the 5D Mark III, but the difference isn't major.
FCPX-mas (With Mark Spencer and Steve Martin) GCS020 | Go Creative
Today we celebrate FCPX-mas, thats right, our Holiday episode landed on the big Final Cut Pro 10.1 and Mac Pro release and we celebrate with Mark Spencer and Steve Martin from RippleTraining.com . We discuss everything you need to know about the update, plus how to correctly migrate to the new version.
Editing 4K Red in Final Cut Pro 10.1 on a MacBook Pro and uploading to YouTube in 4k | FCP.Co
Initial editing was butter smooth. I experienced no delay editing raw r3d files, where as before working on the laptop I would experience dropped frames fairly often. It was only when I started stabilizing clips and adding colour correction when I noticed delays in performance. But that’s fairly understandable.
Product Review: iOgrapher for iPad/iPad Mini | ProVideoCoalition
The iOgrapher case is $65 for the iPad Mini, or $75 for the regular iPad:
Even the casual user that simply wants to make their iPad easier to handle and operate on a day-to-day basic around the home or office will find this quite useful. It's brilliant in design and serves it's function as promised. And at around $60, it's a no-brainer to give your iPad/iPad Mini a little control and flexibility.
Review: Samyang/Rokinon 14mm f/2.8 ED AS IF UMC | Northlight Images
This is a review of the regular model ($359), but there's also a Cine model that's $414.95:
Despite being a plastic bodied lens, it's robust and solidly built, but to my mind, could be improved in a few areas. The red dot for aligning the lens with my camera mount is on the metal part of the lens hidden by the lens mount - I could do with it at the side of the lens.
XQD Cards for Sony F5 & F55 | Dennis Hingsberg
In Mbps equivalence the XQD cards are up and around near 1440Mbps and 1340Mbps for the 180MB/s and 168Mb/s cards respectively and the cameras don’t come anywhere close to the max rates of the cards. Where you will find the benefit of the speed is later in transfer rate speeds when off loading your footage to your computer or storage network.
Technicolor Shutters Glendale Lab as Film’s Fadeout Continues | Variety
The lab, which employed 39 people, was devoted to processing 65mm negatives and striking 70mm prints for Imax and other large-format theaters. ”It’s clear the market has dropped, as you can imagine,” said Claude Gagnon, president of Technicolor Creative Services.
Copyright Office Calls for Congress to Reconsider Royalties for Artists | New York Times
Artists don't get anything when their works are resold; the Copyright Office is rethinking that:
In a report issued Friday, it recommended that painters, illustrators, sculptors, photographers and the like deserve a royalty when their work is resold at a profit.
Honestly i kind of went into this thinking i probably wouldn't like this camera as much as the other two, but right now i like it more! The images are really nice, really really nice. This time the BMDFilm coming from the camera has a lot more contrast and saturation than the previous two, so you don't have to do anywhere near as much to grade it (but yes i already have a LUT i've made/been using with it to speed things up even more).
A video guide to workflow using the Sony FS700 and the Convergent Design Odyssey 7Q shooting 2K Raw and 2K Raw HFR material. I show you how to deal with Cinema DNG files recorded on the Odyssey in Davinci Resolve as well as how to use the Convergent Design Clip merger to bring Raided files together when shooting HFR.
These are Grant Perry's 4K ProRes files graded in FCPX. This video is in 1080p (not too impressive). To view a 4K h.265 file, go here: youtube.com/watch?v=I055-er18h8