Quick Links

CANON EOS CINEMA INTERVIEW | Mat Gallagher | Amateur Photographer
Interview with Peter Yabsley, Canon Europe's business development manager for professional video, Michael Burnhill, Canon Europe's professional support specialist and Kojiro Yoshikawa, professional business manager for Consumer Imaging, Canon Europe:

MB: The Holy Grail for video cameras is to have a 3-chip design, which is difficult with a large sensor. This is the best solution to give us a 3-chip output from a single chip. There's also a design consideration because, while anything is possible, if you make a bigger chip it uses more power, needs more circuitry and cooling and therefore a change of body design. So when we're considering that we want this to be a small unit, and HD, the question is how we put it all together. We think what we've done with this one is the best overall balance.

Canon showcases Cinema EOS System at European Launch | Canon
On this page there's a short video with Academy Award-winning cinematographer Anthony Dod Mantle offering his first impressions of the new Canon Cinema EOS System C300.

When I was looking at this camera and exposing with a torch in the dark on a face at 20,000 ASA, I watched this extrodianry appearance of image, really where my eyes couldn't see what the camera was seeing...

Why the Scarlet Sucks (because you’re too stupid to get context) | The Wire | Filmmaker.com
A look at the Scarlet workflow:

With inflammatory title in hand, John Hess considers the additional Post Production details of RED shooting for folks who may not have a clue what they’re getting themselves into in this response to the C300 vs Scarlet debate.

Sony Nex5N 60P Test For TBOE Opening Sequence | jared abrams | Vimeo
Video shot at 60P on the NEX-5N, then slowed down...

This is some very nice footage from our opening sequence shoot today for The Board Of Education Doc. We are grinding our way through principal photography now and wanted to show you some of our work so far. This is going to b a great opening sequence! We are so thankful to have the opportunity to make this film.

SONY FS100: SMOOTH SLOW RECORD, GIMMICK? | El Skid | Wide Open Camera
Robin writes about his experiences using the NEX-FS100, as well as the Smooth Slow mode:

As I’ve begun post production on my longer projects with the camera I’ve begun to really like it however, and the 1080 slow motion is just a wondrous thing. One of the more curious features of the camera is a little button on the side labelled ‘smooth slow rec’. Selecting this option sets the camera to record 3 seconds of high-speed footage at SD resolution. This gives you 12 seconds of footage so logic says this must be 100 fps. As soon as you say SD, then most users turn their noses up at the feature and never use it. But why?

The 99th Birthday of Hollywood Technicolor Films | Michael Pinto | Fanboy
I never guessed the Technicolor process is that old!

This was because it was the first film to use the two-color Technicolor process which allowed the film to be shown on a standard film projector, [while] previous color films required a special projector which would simultaneously [run] several reels of film that were projected through a beam splitter.

Netflix To Take A Loss In 2012, Which Should Be Good For Consumers
| Christophor Rick | ReelSEO
Things not looking so good for Netflix, and they expect to post a loss next year too:

The real reason this is all great for consumers is that, there is far more online streaming video competition both in the marketplace now and coming soon. Services like Hulu, Amazon, Flixster, Ultraviolet, Cinema Now, etc are all making it easier than ever to get the video content we want on our own schedule.

The Sketchbook of Susan Kare, the Artist Who Gave Computing a Human Face
| Steve Silberman | Plos Blogs
Not really video related, but a look at the work of Susan Kare, who designed the original Mac fonts and GUI elements. It concludes with an interesting thought about art:

I asked Kare if she had any feeling at the time that the work she was doing at Apple 30 years ago would be so pervasively influential. ”You can set out to make a painting, but you can’t set out to make a great painting,” she told me. “If you look at that blank canvas and say, ‘Now I’m going to create a masterpiece’ — that’s just foolhardy. You just have to make the best painting you can, and if you’re lucky, people will get the message.”