Quick Links

The Cost of 4K: From Acquisition to Archiving | Juliet McNally | AbelCine

The 4K footage will take up 3TB of space and the 1080 footage will take up 690GB of space (these figures are rounded up slightly for safety). For a multi-day 4K job you’ll want a 6TB housing with two 3TB modular shuttle drives (one master and one backup), while both your DIT and dailies colorist will have housings which already come with the drives, so you’ll have four drives in rotation from the start.

Red Giant BulletProof (Beta)- Download it now for FREE! | Red Giant

BulletProof is free as beta software until the products full release (and we’re aiming for this summer). This version is Mac only, but we fully intend to support windows as the product further develops.

I miss digitizing footage from video tape | Scott Simmons | ProVideoCoalition

There’s something to be said for sitting back and watching a clip play out in real time: You might see a subtle emotion from an actor’s face or get a look from a by-stander that you never would have seen scrubbing through the footage. You might not notice a camera shake or moment of defocus that is skipped right over when skimming.

F55 DRONE VS FEMALE RUGBY = AWESOME | Andrew Wonder

A good aerial rig is the cross section of many factors but most importantly it’s a battle between weight and flight time. In theory, many rigs could handle the weight of a Red Epic, but lifting a heavy camera means nothing if your flight time is only a minute long. Creating rigs that can support heavier cameras while still getting a 4-5 minute flight time makes all the difference in getting that second take or capturing a magic moment as it unfolds in front of you.

How To Bring a Cinematic Look to a Small Budget Commercial, part 3 | Ryan E. Walters | Zacuto

When it comes to pre-production, my preference is to location scout prior to story-boarding  I put scouting first, because, as a visually oriented person, I will come up with ideas, and compositions based off of what the location provides. When I put story-boarding first, I come up with ideas that are impractical at the location, or I try to force an idea to work when there is a more compelling option provided by the location.

VIDEO: RODE SMARTLAV QUICK REVIEW | Matt Allard | News Shooter

One other thing to bear in mind when using this setup is that there is no way to monitor the audio when it is on your subject. Make sure your levels are set correctly and that there is no clothing rustle or excess wind noise before you start recording.

Ten Lessons on Filmmaking from James Franco | Filmmaker Magazine

3. Surround yourself with people that push you to be better.
And I learned that on just doing short films at NYU. I used this poem called “Herbert White” by Frank Bidart. And Frank became a friend of mine. And the fact that he allowed me to use his poem and then that Michael Shannon acted in it, I had these two giants in my world who were doing my project. So I didn’t want to let them down. 

Lighting Day Exteriors | Shane Hurlbut | Hurlblog

Back Light
I would always try to look for a back light orientation for your scene. This enables you to shoot for a good amount of time without the light changing. As the light gains its height in the sky, I just slightly rotate my actors to match that rotation, always keeping them back lit. The reason for this is that frontal sunlight can be very harsh at times. 

10 Filmmaking Sites You Should Be Reading | PremiumBeats

We’ve rounded up some of the leading video production and filmmaking sites! Check out these terrific online resources to learn about the latest industry developments, get reviews on professional film/video equipment and improve your real-world production skills.

Green screens were necessary to film 'half' of new 'Arrested Development' season | The Verge

He cites one example to illustrate the challenges show runners faced: an on-screen conversation between Michael (Jason Bateman) and Lindsay (Portia de Rossi) required the actors to film their lines four months apart.

Mass Production Coalition: May 22nd Spring MPC Meeting at Coolidge Corner Theatre

Coolidge Corner Theatre: 290 Harvard Street, Brookline MA
6:00 – 7:30 pm Cocktails, Food, & Networking.
7:30 – 9:00 pm Presentations.

Film Development & Financing Panel
Co-Presented with Women in Film Video New England (WIFVNE)

Join us for a discussion on development and financing with Boston-based feature film producers Paul Bernon, Sam Slater and Blythe Robertson, moderated by journalist and WIFVNE Board Member Shannon Mullen.

Paul Bernon and Sam Slater founded BURN LATER Productions in 2012 to produce and finance films, television, and web content. The company is currently in development on feature films, a television series, web content and is actively looking to produce additional content. Their film DRINKING BUDDIES, starring Olivia Wilde, Jake M. Johnson, and Anna Kendrick premiered at SXSW and was acquired by Magnolia Pictures for a August 2013 theatrical release.

RSVP & More Info: May 22nd Spring MPC Meeting at Coolidge Corner Theatre

Quick Links

Outlining As You Write | Stu Maschwitz | Slugline
While sort of an advertisement for this script writing tool, a lot of the article is about writing, not the tool:

I'm working on an outline for a feature, and I thought I'd share my process. The document I've started in Slugline will evolve from notes and ideas, to a rough treatment, to a complete outline, to a scriptment, to a completed screenplay. Throughout this evolution, I'll use various Slugline features to support my workflow.

The “Frankenstein” Steadicam | Evan Luzi | The Black and Blue
Interesting article about making do with what you have (and the budget you have), rather than the 'right' way to do it:

I’m even more proud of the fact that we completely dismantled the RED battery mount and found a way to gaff tape it to the bottom of the Steadicam rig. Then we used the cable to juice the RED with its own batteries. This had a two fold effect: it gave us more power and it gave a greater counter weight to the RED’s heavy body.

Ep. 46 - "It's All News" | NeedCreative Podcast

• Adobe force charges a subscription - our thoughts on Creative Cloud
• Apple - the direction of the company, and their changing view on Pros
• FCPX as it currently stands, as compared to Premiere.
• The Canon 5D3 now with raw 14-bit recording. 
• and more

$200 off Bower 24mm f1.4 lens | B & H Photovideo
This Samyang / Bower / Rokinon is available under different badges, with different mounts and in a Cine model as well as a "regular" version. But at $499 for the Bower model until May 31st, this is about as cheap as you can get it. It's available in Canon, Nikon, Sony A mount, Olympus 4/3rds and Samsung NX mounts. Sure, it isn't as good as the Canon 24mm, but it's $1,000 cheaper, and for video use it has manual aperture settings.
The Cine model adds geared focus and aperture rings, and step-less aperture, but the mechanics are still the same, so it's debatable whether it's worth spending over $200 more for that.



Stratastencil Animation, Dance, and Poetry Take Flight in 'The Me Bird' | No Film School

Take a poem written by Nobel Prize-winning Chilean poet Pablo Neruda, combine it with transfixing stratastencil animation, throw in a strong piano score from Conrado Kempers and Pedro Carneiro, and have Brazilian design and motion graphics studio 18bis blend it all together.

Using Magic Lantern RAW on Your Canon – Is It Worth It? | James DeRuvo | Doodle
Primarily a response to one Canon RAW naysayer:

Weber goes on to say that using hacked cameras while there are proficient RAW options out there shows what he calls an “inherent lack of professionalism.”  Oh please.  Frankly, I think he has a better argument on the reliability side of the issue.  “CF cards are being capped out with the data rate on raw and dropped frames or corruption is far more likely to happen as a result of offloading the buffer. Just unnecessary risks all around.”

Andys Free Region Tool Plugin for FCP, Premiere Pro, Motion and AE | Noise Industries

Andy’s Free Region Tool plugin allows you to apply effects only to the part of the image that needs it. Compatible with Final Cut Pro, Motion, After Effects and Premiere Pro.

Understanding planar tracking in mocha HitFilm | FXhomeHitFilm | YouTube

HitFilm 2 Ultimate includes mocha HitFilm for planar tracking and camera solving. In today's tutorial we introduce the concept of planar tracking and explain some of its quirks.

CoreMelt SliceX brings mocha planar tracking to Final Cut Pro X | iT Enquirer

CoreMelt's SliceX originally was a keyframe based tracker. This meant that with every move of the shape you're trying to rotoscope or turn into a mask, you needed to create a keyframe. Powerful, but tedious. SliceX "powered by mocha" now makes SliceX the best since — heh — sliced bread. You get the tracking power from mocha with the SliceX preset shapes. You also get the ability to create shapes in freeform manner, just like what you're used to in mocha Pro.

ALEXA metadata for Lincoln MKZ campaign | ARRI News

The team utilized ALEXA’s in-camera HTML webpage to create the lens data table for the lenses used on the job. This built-in application is easily connected from the camera via Ethernet to a laptop running a web browser. Lenses with built-in Lens Data System (LDS) like the ARRI/ZEISS Master Primes, can communicate data directly to the camera through the PL mount data contacts. Lenses that are not LDS-enabled need only a lens table to be created and installed in the camera prior to shooting.

LockCircle Professional LockPort USB Port Saver | Cinescopophilia

The LockPort USB is a new product developed to help avoid damaging your 5D Mark2 and Mark3 mini USB camera port. The LockPort USB protects the fragile output on your camera from tough production abuse with a rock solid innovative ultra-thin clamp and a smart “mini to full-size” USB adapter.

Storytelling Mistakes from Star Trek Into Darkness | Tony Reale | NextWaveDV
I didn't actually read this as I am going to see the movie in the next day or so:

Big, massive, epic SPOILERS ahead! We will be talking about a few major plot revealers so if you haven’t seen the movie and want to be surprised, read no further. Don’t say I didn’t warn you.

Quick Links

How to “sort of” give your Blackmagic Cinema Camera a Super 35mm sensor! | Philip Bloom

So does it work? Absolutely. You can see clearly from the image below. It’s the same shot. Same camera, same light, same position just one is a passive flange distance adaptor the other the speedbooster. The full image is the speedbooster one which is clearly brighter, guesstimating it as about a stop brighter.

CANON 5D RAW HACK – USEFUL FOR REAL WORLD PRODUCTION? | Dan Chung | News Shooter

I know that sooner or later I will be shooting RAW much more often – but that might still be a few years away for most real world shooters (commercial shooters are getting there much sooner, it seems). Before then, recording, storage and post-production options need to improve and get cheaper. Right now I will only shoot RAW if I need the best possible image quality or need the extra latitude for a specific shot that would be hard to expose for any other way.

Why you MUST have 4K and raw and why you absolutely DON’T need it *
| Philip Bloom

Raw is brilliant. 4K is sexy as hell…BUT they both come with a number of quite severe headaches for the vast majority of people (including myself) who are clamouring for it. If those headaches were not there, then I would tell everyone to go for it, but as I am in somewhat of a position where people listen to me (still an utterly bewildering thing to me) and take what I do or advice I give as verbatim

Which Compact Flash cards for 5D Mark III raw video? | Andrew Reid | EOSHD

There are a lot of 1000x compact flash cards out there, with big variance in performance and price. Personally I have had the best results with the KomputerBay 64GB 1000x card, which only cost me 89 Euros on Amazon. Some KomputerBay and Lexar cards have been able to achieve 120MB/s sustained write speeds in Magic Lantern’s benchmark test, in theory enough for a Blackmagic Cinema Camera rivalling 2.5K 2560 x 1152 which requires 118.1MB/s at 24fps.

Turning the Internet Green: The FX Protest | Michael Murie
| Filmmaker Magazine

Over the past few months it’s been hard to miss the green icons showing up on Twitter and other social media in support of the FX Protest, an event that happened at this year’s Oscar ceremony to protest ongoing problems in the VFX industry.  While movies continue to make great use of visual effects, the companies that create these effects are being financially stressed and are going out of business.

The State of the VFX Industry and where do we go from here | Rick Young | Vimeo

Presentation by Scott Ross and Scott Squires live at the NAB SuperMeet, April 9, 2013This is an important presentation - for those who don't know, the VFX industry is in crisis with many facilities either struggling to make a living or going bankrupt. This is a world-wide industry problem, highlighted by the movie, Life of Pi, which brought in a tremendous profit, yet the VFX company which made the movie possible is now out of business.

Where is the best place to sit in a 4K UltraHD cinema? |  Aframe

In their words “Some have suggested that 4K is only meaningful for very large cinema screens. In fact, screen size isn’t the true measure of an audience member’s ability to pick out detail. The true measure is the relative distance from that person to the screen, the viewing distance. On paper, 4K is obviously the superior solution. But what about the real world? Will the ticket buying public actually be able to perceive the benefits of 4K resolution in actual theaters?”

Unlocking the Hidden Costs of Video Production | Chris Leydon

Video production isn't scalable, not really. There are some ways to make efficient use of crew time, with cramming as much into one shoot as possible, but that doesn't make up for the vast amount of pre and post-production time that's needed for a big project. The bigger the shoot, the longer it stays in post production.

Adobe's Creative Cloud Controversy | Red Shark

The current Adobe flap reminds me of the rancor two years ago at the introduction of Final Cut Pro X and the accompanying suspension of Final Cut Studio development. It is like the world erupted in fiery rage and I certainly counted myself among those who felt both a sense of betrayal as well as an instant dislike to the software.

Editing with FCPX – Part Two “long form” | Philip Johnston | HD Warrior

I am so glad I choose FCPX after a lot of deliberation and soul searching…version 10.0.08 is a great editing tool and the inbuilt chroma key is second to none, DON’T buy any 3rd party chroma key as they can’t compete with Apples own version, I tried one claiming better keying of finer detail and it was not a patch on the Apple version.

Dark Knight to rise for next James Bond? Christopher Nolan approached to direct next 007 film | Daily Mail

Nolan, who made the Batman trilogy Batman Begins, The Dark Knight and The Dark Knight Rises — and had time for Inception in between — would be a cool choice after Sam Mendes decided not to shoot Bond 24.

More Canon 5D raw news & Quick Links

Workflow video: Simple post processing of 5D Mark III RAW footage in OSX | Cinema 5D

Sebastian here has found a much more straightforward way to post process the raw files from the 5D Mark III which allows us to skip the relatively cumbersome After Effects conversion process. This new process only utilizes Adobe Photoshop’s raw import module

New 5D Raw developments – plus my low light comparison with Blackmagic Cinema Camera | Andrew Reid | EOSHD

The 4GB file size limit of FAT32 prevents continuous takes over 40 seconds currently. I asked Alex of Magic Lantern about overcoming this and he says it is perfectly possible but not a current priority. There’s a lot that comes before it – even basic stuff like assigning raw recording to a physical button. 

Wait! What? You can only record 40 seconds at the moment? How'd I miss that?



Easier 5D Mark III raw guide in 4 steps | Andrew Reid | EOSHD

For 1080p will need a 1000x speed card, preferably 64GB as some of the higher capacity 128GB cards currently have issues with lower than expected write speeds.
Mac users should use Mac Boot to prepare the card, whilst Windows users can use EOS Card. These apps are in the main zip you just downloaded. Only one download required in this guide.

Why I Don’t Care About Raw Video from the 5D | Nate Weber
| Wide Open Camera

For me, it changes nothing. I have done the magic lantern thing with my T2i, it brought an impressive array of features to a budget camera. I don’t think it really made it a good enough tool to still bring onto sets though, in 2011 or now. It’s stable for a hack but it voids your warranty and didn’t raise the quality of the video enough to validate its inherent risk.

The Rest

Adobe After Effects CC: Warp Stabilizer VFX | Adobe

A major upgrade to the much-loved Warp Stabilizer, VFX adds the ability to choose which objects within a scene get stabilized, reverse a stabilization, and preserve a scene's original scale to fix tricky shots such as aerial fly-throughs.

Editing long form with FCPX…PART ONE | Philip Johnston | HD Warrior

I came to a halt when a client had DV footage to edit as we all know FCPX does not entertain ingesting footage that was not shot on a card but you can import footage so my problem was how to get DV footage into my Mac. After extensive research I opted for a Black Magic Design board that would bring my HD footage via HDMI

Cinematographer Profile: David Kruta | IMVDb

Inspiration as a filmmaker can come from all different places. For DP David Kruta, he was able to succeed in his current career by drawing influence from his previous careers, including his time spent as a graphic designer and as a dish washer. Since his days washing dishes, David has gone on to work as a DP in the film world, the commercial world, and in the music video world with directors like Michael Lawrence, Grant Singer and Eli Stonberg.

THE HISTORY AND SCIENCE OF COLOR TEMPERATURE | FilmmakerIQ

Color can carry a lot emotional information in film – one type of information it can convey a sense of temperature. Learn about history and science behind Color Temperature. it’s application for opposite effects in Spike Lee’s “Do the Right Thing” and the Coen Brother’s “Fargo” and how you can apply them in your own productions.

New Lens Turbo NEX adapter auctions (Minolta, Canon, Nikon and Pentax). And first impression report | SonyAlphaRumors

Optically it’s better than I expected. I took a few pictures with the Lens Turbo and with a dumb adapter from the same distance, only changing the FL to get the same FOV. The images looked sharper with Lens Turbo than with a dumb adapter, though I didn’t do any measurements, so I don’t know yet if the resolution or contrast improved or the lens is simply better on the long end. 

Massachusetts Production Coalition: Legal Seminar: Saturday, May 18th
Coffee & Bagels at 9:30 AM. Seminars from 10:00 AM – 12:00 Noon
High Output Studios

The May 18th Legal Seminar will cover the rights, releases, licenses and agreements required by film and media makers to distribute their projects – including planning for festival and theatrical exhibition, broadcast, internet and other distribution. The panel will address legal and business issues that arise during the development and production process.The discussion will cover topics such as production contracts, copyright, trademark and rights clearances, fair use, privacy and distribution agreements among other considerations.

Quick Links

Space Monkeys, Raw Video, and Giving Us All You've Got | Prolost
One of the best looks at what's going on behind the latest Canon 5D hack:

But there’s a price to pay for recording 14-bit uncompressed raw. It requires crazy-fast CF cards, and you’ll only get 15 minutes of video on that 128 GB card, according to Cinema 5D, who graciously posted their workflow and samples, “after struggling for a day” to get it all working.

Low light test of 5D Mark III raw vs H.264 | Andrew Reid | EOSHD

The image is cleaner in low light with raw, with even exposures I rated ISO 12,800 coming out perfectly usable. I’m hesitant to say it as a matter of fact but based on my early observations the 5D Mark III seems to have surpassed the C300 as the ‘low light king’.

Friendly’s “Build Your Own Burger” Campaign Shot with Blackmagic Cinema Camera | Blackmagic

“It was my job to get the best images possible, and I couldn’t believe what the camera delivered in such an affordable and easy workflow,” he continued. “We turned it on, popped in an SSD and were recording. The camera was connected to a laptop running Blackmagic’s UltraScope software so we could monitor the image to ensure nothing was clipping.

Manfrotto 502HD Pro Video Head Review MVH502AH | Erik Naso
I quite like Manfrotto's lower-end heads and legs; you can get the 502HD with legs for just under $400. Sure they aren't as good as a Miller, but then they're almost 1/4 the price! In both cases you get what you pay for, and if you can't afford the best you have to make do...though I've heard a lot of praise for Sachtler's Ace series, which can be bought for just over $500.

This is the new Manfrotto 502 MVH502AH that has the patented Bridging Technology Ball-bearing drag system inherited from the 509HD and 504HD heads. Its much bigger than the 501 and 701 heads that have been discontinued. The 502 is considered an entry level pro fluid head by Manfrotto.

How To Bring a Cinematic Look to a Small Budget Commercial, Part 2 | Ryan E. Walters | Zacuto

The last step in our initial process is the creation of the video proposal. This is where we take all of our planning, development, and budgeting and merge it into one document that is easy to read and follow by our client. This is crucial to our process as it allows everyone to literally be on the same page.

How To Start Your Editing Business | Larry Jordan

What happens far too often is that a business is created by someone who understands one of these components really well, but doesn’t understand the other two and, hence, ignores them. This is sad, because many great ideas have died because the entrepreneur starting them didn’t take the time to get themselves started right.

Reader Question: How easy is it to steal a story? | Go Into The Story

Sure, there may be some individual or outfit who would be willing to take the risk of ripping off your idea. But that would mean (1) stealing your story idea, (2) developing it, (3) having a writer write it, and (4) get it set up somewhere. That is an arduous path. Plus there is that word: RISK. By using your idea for their project, they set themselves up for a potential lawsuit.

My Favorite Regional American Film Festivals ~Joe Swanberg | Zacuto

SF INDIEFEST – San Francisco – February
I appreciate any opportunity to spend time in San Francisco, but this Festival provides wild parties, enthusiastic audiences and a truly independent program that makes the city that much more appealing.  The main venue is in The Mission District, which borders The Castro. 

Quick Links

Canon 5D mark III RAW vs. Blackmagic Cinema Camera RAW | Cinema5D
Lots of excitement about the announcement of RAW recording with the Canon 5D Mark III:

What became clear is that both cameras provide very similarly capable RAW files. You can adjust everything and everything is possible. You can get similar details out of the sky and set all you like in post. Color temperature, tint, dynamic range, no problem. The 5D is just as strong as the BMCC, providing maybe a bit more dynamic range.

BIG NEWS – Hands on with CONTINUOUS raw recording on Canon 5D Mark III | Andrew Reid | EOSHD

Magic Lantern have done the seemingly impossible and given us a continuous raw recording mode on the Canon 5D Mark III. Once activated in the menus the 5D Mark III becomes essentially a full frame Blackmagic Cinema Camera and amazingly mine has not yet exploded. No more short bursts of raw, this is the real thing.

Andrew has taken to Twitter to post some more enthusiastic impressions:

Only just starting to sink in how good the image is. Digital film negatives are finally here. On a 5D Mark III

The CF card and 5D3 card bay area get slightly warmer than normal, but only a few degrees. No sweat!

Low light is INSANE on 5D Mark III with raw. Makes the H.266 video mode look like a smartphone camera

H.264 video mode cannot hold a candle to raw in any light never mind ISO 12,800

Colour and tonality is utterly insane and you have full control over noise reduction. When applied, fine detail remains. Stunned by it

Biggest difference in low light is colour, followed by fine detail. H.264 is all yellow and pale in comparison to raw. 5D3 ML is a beast

Also with my candle test I get 3-4 stops more in the highlights... Easily

I cannot go back to H.264 on ANY camera now. Blackmagic was good. This is just insane new level. FS100, C300, all dead to me now

in other news...

Technicolor Case Study: Oblivion | Scribd

As one of the first studio features to use Sony’s new F65 CineAlta digital motion picture camera, Universal’s big-budget 2013 movie, Oblivion, starring Tom Cruise, created a buzz of anticipation in the production community. Producers were excited by the camera, but had to make a decision aboutwhat digital workflow to institute, including how they would handle digital dailies given the production’s particular needs.

Zeiss Touit can they be used for video? | F-Stop Academy
Zeiss has announced some new, small lenses for Sony E-Mount and Fujifilm X-Mount, but they aren't really video lenses, and they are pretty expensive...

Often with smaller compact lenses , image clarity and contrast are compromised because fewer glass elements are present. Not the case with Touit. Th edge to edge sharpness is incredible even at wider apertures. I purposely shot stiff at f2.8 to test this. The images have great clarity also and the contrast levels are exactly what I’ve come to expect from Zeiss.

HORSES FOR COURSES: HOW TO SHOOT IN FLAT LIGHT | Matt Allard
| News Shooter

It was a very cold and overcast day which made shooting conditions very difficult. When the light is very flat you need to approach the way you capture images differently. You can’t rely on the light to give you depth and contrast. Flat light and snow are a difficult combination.

The Summer Blockbuster Colour Grading Tutorial | Juan Melara

I’ve received a lot of requests to share the techniques I use to achieve the various grades on this site and on Vimeo. But by far the biggest request has been to show how I create the cool/warm look. Otherwise known as the summer blockbuster look, the teal and orange look etc. The techniques I show you also form the foundation for most of the grades on this site. 

James Wicks on Color Restoring Classic 35mm Spanish-language Movies
| Tom Parish

Jim talks about the team effort that goes into repairing each film, such as the careful cleaning, optical scanning, restoration, the color restoration process, audio, and finishing. Jim covers two examples: one from a 1951 black-and-white film, the other from a 1956 color film that looks to be nearly as grand in scale as Gone with the Wind.

Kodak Bankruptcy: Key Hearing Approaches; Company Restates Commitment to Film | The Hollywood Reporter

Per the reorganization plan, two business units will remain with Kodak: Digital Printing & Enterprise; and Graphics, Entertainment & Commercial Films. The Entertainment Imaging division resides in the later, and per the plan would remain intact with its film products.

Quick Links

Conversation Series: Blackmagic CEO Grant Petty Talks Pricing and 4K |
The Hollywood Reporter

“Too many manufacturers make products that are way too expensive or too complicated. You have to buy their service contracts … but often they are used as a way for the manufacturer to produce poor quality products and make money off the service

Quick Note: Technicolor Color Assist now supports Apple’s Final Cut X
| Vincent Laforet

A quick note to say that the Technicolor Color Assist software which is a wonderful way to quickly set a look (or color grade/correction) on the set right there on the spot (on a shoot large or small) before those drives get shipped off into never never land… is now supported by Final Cut Pro X.

9 Tips For Low Budget Indie Filmmakers | DigiMediaDude

1. Get a committed team.  Make sure it’s a small crew and tell them that no one will get paid (at least with $$).
2. Own or borrow equipment.  Do not rent!

Jacob Rosenberg’s Ten Rules for Filmmaking | Larry Jordan

• A mistake is only a bad thing if you don’t learn from it
• There’s always a solution

J.J. Abrams: On Filmmaking | BAFTA | YouTube

J.J. Abrams (Star Trek Into Darkness, Lost, Super 8) fills us in on balancing intimacy with hyperreality, why TV leaves room for surprises and the best advice he's ever been given.

Easy Ways to End Copyright Confusion | the future of ink

The US Copyright law has a clause called the “Fair Use” clause.  This clause allows for the use of minimal portions of other’s copyrighted material without written permission.  This clause is very vague and can be quite confusing.  Fair use is intended to allow the quoting of material for parody, commentary, news reporting, and education.

Audio for DSLR shooters… Choosing Microphones | F Stop Academy

Learning to record audio for DSLR shooters can be challenging. The secret to recording great audio is to get the microphone as close to the subject or person you are recording as you can. However, getting a mic close is not always physically possible..

Upcoming Events

Free Webinar on Color Grading with Tiffen | Richard Harrington

May 15th 12PM EST
Learn how to approach color grading tasks from production to post. Learn important techniques about what to shoot in the field including camera profile, white balance information, and essential metadata. Then in post you'll learn how to create popular looks that clients want.

May 22nd MPC Meeting at Coolidge Corner Theatre
| Massachusetts Production Coalition

Join us for a discussion on development and financing with Boston-based feature film producers Paul Bernon, Sam Slater and Blythe Robertson, moderated by journalist and WIFVNE Board Member Shannon Mullen.

BOSCPUG & BAVUG: Boston Preview of DaVinci Resolve 10 with Alexis Van Hurkman | Boston Creative Pro User Group

Wednesday, May 29, 2013 from 6:30 PM to 9:30 PM (EDT)Boston, MA
Join us for a special joint mixer of BOSCPUG and BAVUG - featuring a special evening with writer, director and colorist ALEXIS VAN HURKMAN fresh from 2013 NABShow with the Boston Preview of DaVinci Resolve 10!