Director Joseph Oxford and cinematographer Bradley Stonesifer created an imaginary world using cardboard boxes and rubber bands for their animated short film Me + Her. A labor of love that evolved over four years, their work was rewarded when the film was accepted into Sundance’s Short Film program.
Blackmagic Design Announces DaVinci Resolve 10.1 with FCP X 10.1 XML Import
Blackmagic Design today announced the release of DaVinci Resolve 10.1 software which adds new editing and 3D stereoscopic features as well as support for Final Cut Pro™ X 10.1. DaVinci Resolve 10.1 is available now for download free of charge for all existing DaVinci Resolve customers from the Blackmagic Design website.
Calibrate That Display! | Alexis Hurkman
One of the most frequently asked questions I’ve gotten over the years is “I’m planning on using a plasma display for color critical monitoring, but I’m not sure how to calibrate it.” I’ve been putting off answering this question for months, as the answer has, until recently, been a bit more complicated then I’ve wanted it to be. However, recent developments – specifically the release of DaVinci Resolve 10 – have dramatically simplified this process, making LUT calibration easier then it’s ever been for small shops.
FCP X 10.1: Collaboration | Larry Jordan
While Final Cut provides a variety of ways to reorganize media after you have it in the system, life is easiest when you plan to share files during import. When you import files, you have two key options for Media Storage that affect how easily you can share files.
Sigma 18-35mm f/1.8 Review | PhotographyLife
With a focal range equivalent to 27mm-52.5mm in 35mm format, the lens provides a good range to work with for a variety of different needs and applications. And with its fast constant aperture of f/1.8, the Sigma 18-35mm opens up opportunities to shoot in low-light situations, something that was previously only possible with fast aperture prime lenses.
RED cameras absent from all Oscar cinematography and best picture nominees | EOSHD
SetLife Magazine (a recommended follow on Facebook) has compiled technical specification slates showing us who shot on what when it comes to the big 2014 Oscar nominees. Interestingly Arri cameras still sweep the board. There are also nods to the Cinema EOS cameras and even the GoPro, but the really surprising thing is not a single one of the films were shot on RED.
Why you shouldn't run on a film set, TV frame rates and Business Card titles | The Black and Blue
Just because you can’t run, however, doesn’t mean you can’t be quick. When you’re advised to walk, that doesn’t mean you should take a leisurely stroll to the truck as if walking on the beach. Instead you should walk quickly at a brisk pace. You know how fast you walk through the airport when you’re worried about making a connecting flight? That’s the pace you should be hoofing it.
Why Were There So Many Great Movies in 2013? An Economic Explanation | The Atlantic
In other words, the fact that (a) stars are willing to take less money before box office and (b) there is more outside support for prestigious films makes it cheaper—or, at least, less risky—for studios to produce these projects than in a time when stars demanded higher salaries to be paid from the studio's pockets.