Notes On Video

BMCC vs Red Scarlet vs Sony F5 | Planet 5D From being onset and not looking at the footage in post production, the Sony F5 was the winner. It is a great ‘do all’ camera with an amazing image. Unfortunately, we can’t edit this footage in Premiere CS6 because there is no plug in that allows us to do so. The only way I could show the shots is with a screen shot via content browser. Anthony is going to see if he can get it into Davinci Resolve. Tutorial: Creating 3D Graphs in After Effects by Joe Mason | MICHELE YAMAZAKI | Tool Farm There are many ways inside of AE to add a third dimension to those boring old 2D charts. If you’ve got the time and a small budget, I would recommend a 3D plug-in such as Zaxwerks 3D Invigorator or ProAnimator in order to turn a flat bar into a full three-dimensional cube that can animate and grow to a corresponding value. The following screen captures were taken from animations created in Zaxwerks 3D Invigorator. Download a free demo of Zaxwerks 3D I...

Digital Bolex image quality – Exclusive look at sensor samples and footage | Andrew Reid | EOSHD Uncompressed raw is basically a direct sensor tap. The Digital Bolex camera features a Truesense Imaging CCD (ex-Kodak). As there’s no image processing pipeline, just debayering – the sensor pretty much determines the image from the camera.So by looking at a development rig with the same sensor, we get a glimpse of what the Digital Bolex can do. Infographic: SXSW 2013Did the Big Guys Crowd Out the Crowd Funders? (And Other Burning Questions…) | Amanda Farmer | Austin Freelance Writer How are the films chosen? Are there formulas? Trends? What type of filmmakers get accepted? Specifically: Do crowd funded, totally obscure indie films really stand a chance, when $200,000 is considered “Ultra Low Budget” for Hollywood films entering the same festivals?The upcoming SXSW Film Festival seemed like a perfect opportunity to do a little research. I spent a few days poring over the SXSW webs...

How to make an HD camera rig for less than $3K - including the camera! | Craig Marshall | Red Shark News Putting together a rig based on the NEX-VG20 ....I think I'd use the NEX-EA50 ... The VG20 sports a large 4 piece spatial on-board microphone with a ‘dead kitten’ blimp and full manual audio control circuits with auxiliary microphone inputs and a headphone output jack. Although the VG20 is equipped with an external stereo microphone input, there are no balanced XLR microphone jacks. Remember, Sony does not advertise the VG20 as a ‘professional’ camera. Ang Lee and the uncertainty of success | Jeff Lin From age 30 to 36, he’s living in an apartment in White Plains, NY trying to get something — anything — going, while his wife Jane supports the family of four (they also had two young children) on her modest salary as a microbiologist. He spends every day at home, working on scripts, raising the kids, doing the cooking. That’s a six-year span — six years! — filled with da...

Lightworks for OS X to be revealed at NAB | RedShark News They've been promising a Mac version of this NLE for a couple of years...could it be just around the corner? Note that this is a first showing of the OS X software and that it will still need to go through the same stages as the Linux version: probably a private Alpha, and then a public Beta. But because of the similarity of large portions of the code, testing on all three versions benefits each specific one as well. Review of the Sony NEX-EA50 camcorder | Philip Johnston | HD Warrior Philip gives the Sony NEX-EX50 a very positive review - about the only thing that it really lacks is built-in ND filters. Low-light isn't too bad either - maybe not as good as the more expensive cameras, but it's no slouch...and it's only $3,599... Sony NEX- EA50 Review from Philip Johnston on Vimeo . Canon Announces the Development of New High Sensitivity Sensor | CanonRumors I wonder how much ND you have to...

HYDE PARK ON HUDSON | ARRI News LC : We didn't actually light them that much. Traditionally the way day-for-night has always been done in the past is that you take an image lit by daylight -- ideally on a day where it's a nice bright source rather than being overcast -- and you then turn that sunlight into moonlight by underexposing a couple of stops in-camera and some more in post, twisting everything towards a cooler look with increased contrast. What we did was to expose normally and apply the LUT, which is the equivalent of creating the look in the grade, but with the advantage of being able to monitor it on the set. The Speed Booster – a New Type of Optical Attachement for Increasing the Speed of Photographic Lenses [PDF] | Brian Caldwell and Wilfried Bittner | Metabones A white paper on this new optical adapter for full-frame lenses on APS-C format DSLRs: Ever since the introduction of DX and APS-C format DSLR’s many have wondered why it isn’t possible to build ...