GoPro today announced that the National Academy of Television Arts and Sciences has recognized the company with a 2013 Technology and Engineering Emmy® Award in the category of Inexpensive Small Rugged HD Camcorders. GoPro was selected for its groundbreaking HERO3 camera technology, which has enabled television production professionals to capture engaging perspectives that were never before possible.
Another Update on Adobe Creative Cloud | Aharon Rabinowitz
When Adobe moved to subscriptions a lot of people predicted bad things (including me!) Aharon takes a look at how things are a year later.
While he has a point, I'm not sure that a year is anywhere near long enough to determine the effect of monopolies. Of course that raises the question; when is long enough? Can I just go on and on saying 'well, there's been no effects, but just wait!'?
I guess not. So I'll be reckless and say that if in five years there are no measurable negative effects, then I'll admit I'm wrong.
I'll try to remember to check back in 2019.
I’m going to address one question that came up, to see how Adobe is handling it: With customers locked into a subscription, what’s to make them keep their promise of feature rich updates?
To me, the answer to that question is pretty self-evident: if time went on and Adobe didn’t keep to its word, people would very quickly see that, talk about it and Adobe would look really bad – along with that, new and long-time users would not sign up for the cloud.
Attention, Filmmakers: Here's the Distribution Strategy You Need Before Sundance (Or Any Film Festival) | IndieWire
A Customized StrategyEvery film can benefit from having a distribution strategy before its festival premiere and before any rights are sold. A customized strategy can help you maximize audience, revenues, impact, and career. This strategy should be designed based on your goals, your film's content, its core audiences, and the opportunities in key avenues of distribution (from theatrical and television to direct sales).
Freelancers: How Not To Get Screwed By Clients | FastCoDesign
2. No spec work.If you ever see something like “We’re asking for examples from different firms/people” or “We’d like to see what ideas you have first,” politely explain to the client that you don’t work for free.
The Key to Movi Magic (for us) | StillMotionBlog
Collection of behind-the-scenes stuff for a shoot.
It can be quite overwhelming with how many ways you can use and operate the MoVI. You can easily have a 3 person setup involving an operator, remote controller, wireless focus puller, and multiple monitors to rig. This setup can be very complex with a lot of moving parts; not an issue if you’re shooting on-set with lots of time to setup and coordinate moves.
LA TV, Film Production Hit Hard By Rival Incentives Over Two-Decade Span: FilmLA | Deadline
The latest FilmLA survey puts some numbers on the losses Hollywood’s suffered from the proliferation of tax incentives in other states and countries in the past two decades.
DPs and Gaffers – Hard Light, Fresnels vs PARs | ASC
The cinematographers and gaffers discuss the use of hard directional light, and the choice between fixtures with Fresnel lenses versus PARs (Parabolic Anodized Reflectors). There is some playful teasing between long-time friends Vilmos Zsigmond and James Plannette.
The Spinning Top and the Parvo: MAN WITH A MOVIE CAMERA | John Bailey, ASC
Biography of a very early filmmaker:
Denis quickly rose to prominence after the war as a theorist for the burgeoning Soviet film industry, and in the early 20s brought his theories of “Kino Pravda” (Movie Truth) into screen reality with a series of agitprop documentaries.
Vimeo on Demand Announces 13 TIFF Acquisitions | Filmmaker Magazine
Shortly before the 2013 Toronto International Film Festival, Vimeo issued an offer to attending filmmakers. Let us have exclusive digital rights to your film for 30 days via our distribution platform, Vimeo on Demand, and we’ll give you a $10,000 advance.
The making of the CarryMe.tv interactive music video | Powster
Powster worked closely with X-Film who handled producing the shoot on the day. The entire production was shot in one day at Camden Studios. Shot with two Canon C300's and a Canon 7D for taking Stop-Motion stills for reference. Behind the scenes was shot with a Canon 5DMKIII and 4 GoPro Hero3 White cameras.
How Pixar Uses Apple's $3,000 Mac To Make Beautiful Movies | Business Insider
Of course, it's hard to express to average users why a computer that starts at $2,999, even with all of the fastest internals and a revolutionary form-factor, is worth it for anyone.