Notes On Video

SEO Tips - Film Riot's Ryan Connolly Weighs In On The Canon C300 Vs. RED Scarlet (11/19) | $4.95 Trials Summation of Ryan Connolly's view of the two cameras: Connolly chooses the Scarlet because: It can shoot 4K with better resolution. It's "future-proof," with the ability to upgrade the sensor later. Re: Reasons to go for C300 over RED Scarlet X? | Tim Le | DVInfo So if you ignore image resolution and total cost, lots of reasons to like the C300 : Media - Scarlet exclusively uses RED SSD. The least expensive 64 GB drive is $950 and gets you about 25 minutes of run time. - C300 uses off the shelf CF cards (but must meet minimum speeds). You can buy a 2 pack of 32 GB CF cards for $145. If you don't make a backup, 64 GB will get you 160 min of run time. - Conclusion: C300 media is almost an order of magnitude more economical. If you consider cost per minute of run time, it's almost 40X more economical. RED's high performance certainly comes

Award winning editor Steve Audette [ Frontline, Nova ], speaking at last nights Pub Night at Rule Boston Camera : A big problem that happens all the time with documentaries, is that you think you know what your story is when you go to make the documentary. You frequently find out, I would say 99% of the time, that the story is in the footage. It’s not necessarily the pre-conceived idea that you went in with. And the truth of the story is in that footage, if you just let it be told.

First Look: Canon EOS C300 Cinema Camera | Barry Braverman | Studio Daily Cinematographer Barry Braverman offers his take on the Canon C300 : More problematic for some folks may be the Canon 8-bit recording and HD-SDI output. To be fair, Canon extracts a remarkable 12-bits worth of data for each pixel, a very high level of performance that the company describes as “the best 1080p 4:2:2 implementation in the business.” Still, for most of us operating in the higher end of the industry, a ten-bit recording system like Sony’s HDCAM SR, Apple’s ProRes and Panasonic’s AVC-Intra are pretty much the norm now... The Simplest, Fastest Interview Lighting Setup—Ever | Art Adams | ProVideoCoalition One light, a couple of pieces of foam core, and you're done? Lighting doesn't get much simpler than this! Yes, it looks simple. Deceptively simple. Believe it or not, it takes a long time to learn to light so simply. There was a time when I used every light on the truck (or the van) on

Everyone knows what a Neutral Density filter does [ Makes it darker - Ed], and what a UV filter does [ Keeps dust off the lens -Ed], but what does a Haze filter  do? Today on " What Does That Filter Do? " we look at Tiffen's Glimmerglass . Reading the specs, the first few seem pretty straight forward... Softens Fine Details Like Blemishes Adds Slight Glow to Highlights Reduces Contrast Minimal Highlight Flare It's the next one that catches your attention: Generates a Silver Sparkle in the Glass A sparkle in the glass?! Well that'll look good for those "Director with the camera" shots!  But then... Brings a Psychological Edge to the Shot Makes Subject Feel More Confident I'm sorry, what?!! A filter that brings a psychological edge to the shot by making the subject feel more confident?! They offer a few more details: The main feature of Glimmerglass is that it produces a silver sparkle in the front of the filter that makes your su

Final Cut Pro X: Version 10.0.2 release notes | Support | Apple Bug fixes for Final Cut Pro X : Fixes an issue in which a title may revert to the default font after restarting Final Cut Pro X Resolves an issue that could cause files recorded with certain third-party mobile devices to play back incorrectly Addresses a stability issue caused by changing the start time on a Compound Clip Blackmagic Design adds Avid DNxHD Recording and Playback to HyperDeck Studio | Blackmagic An update to the inexpensive solid state recorder, the HyperDeck Shuttle , will be available at the end of November: DNxHD is a broadcast industry standard for media files and adding native support for this compressed video format into HyperDeck Studio will allow dramatically longer recording times, lower media storage costs, and full file format compatibility with Avid Media Composer® systems. All media is recorded in MXF format, so it’s immediately available in Media Composer without any time consuming

Sony F3 with S-LOG Shoots Ghost of Goodnight Lane | Jonny Revolt | Creative COW Magazine An insider's report on the first feature film to be shot on the Sony PMW-F3 The S-LOG option for the F3 also means that you can now use the dual-link 3G SDI ports on the back of the F3 to output 4:4:4 signals that capture the entire tonal range of that 35mm chip. The S-LOG option also adds a stop to the F3's standard range, for a total of 13.5 stops, about the same as the RED Epic, and very nearly as much range as Alexa, for much less money. Blackmagic Design Announces DaVinci Resolve Lite now Includes Unlimited Color Correction Nodes! | Blackmagic This is pretty amazing. The free version of DaVinci Resolve now supports more than two color correction nodes (think of a node as an effect) per clip. Reportedly, only the first 10 are real time (possibly due to the one GPU limitation?) but this change is pretty huge; the two nodes limitation was the one big limitation of the lite versio

Though I bought Final Cut Pro X on the day of release, I have to admit that I haven't really done much with it since. I spent a little time experimenting with the new features (particularly editing DSLR footage without first transcoding) when I first installed it, and while it was interesting, I found it a bit disorienting. After that initial playing, each time a project came up I ended up editing it in Final Cut Pro 7 or Premiere Pro . Mostly it's an issue of familiarity and comfort; I know I can get it done in FCP 7 , and how long it will take. Why risk using something else when you have a deadline? But yesterday I wanted to edit together a demo reel, and I wasn't in a hurry. And I thought it would be a great experiment to actually edit a real project in  Final Cut Pro X because there was a mix of formats, and the editing was very simple. And after spending the afternoon playing with Final Cut Pro X I've come to the following conclusion: it might be okay on th

Rough Guide to DSLR Video ( Beginner / Intermediate ) | Ben Edwards | IContactVideo A very good overview and introduction to shooting video with DSLR for those new to the topic: The main reasons people like DSLRs are: The footage they produce looks great. I have a Sony Z1 (£2000) and the stuff I have shot on a Canon 550D (£500) looks as good if not better. The colours are vivid and the depth of field is nice and shallow (see Depth of Field section). Sale: Red Giant Quick Looks 90% Off - Only $11! Celebrate 11/11/11 | Tollfarm Sale ends today on Red Giant Quick Looks : Quick Looks sets the mood for your footage in seconds, whether it’s a urban grunge, a desert sunrise, or the film stocks used in classic movies. Quick Looks is a lite version of Magic Bullet Looks, giving you the same speed and creative options but at a lower price. You can easily define the style of your video or film by choosing from 100+ look presets that add color and light to every scene, from a wedding

Tuesday Nov 15 6:30pm - 9pm BAVUG - The Powderhouse Punch At the Boston Avid Users Group meeting Rob Kirwan of Powderhouse Productions discusses how Powderhouse grew up with Avid and how they use Avid products such as Media Composer, Symphony and Interplay in their current setup and workflow. He will also touch on how the products have changed production models, business, etc. Registration page: Eventbrite Wednesday Nov 16 10am - 12noon Rule Boston Camera - COMPLETE HIGH-PERFORMANCE STUDIO SOLUTION Sony introdcues the HXC-D70 2/3" CMOS studio camera system and the MCS-8M compact audio video switcher - perfect for the small entry-level studio set-up in terms of both design and budget. RSVP to  events@rule.com Wednesday Nov 16 7pm - 9:30pm BOSFCPUG - Inside the Cutting Room: Sam O’Steen and the Editing of “The Graduate" Join BOSFCPUG and renowned author BOBBIE O'STEEN ("Cut to the Chase," "The Invisible Cut") for an in-depth discussion

Earth | Time Lapse View from Space, Fly Over | NASA, ISS | Vimeo Okay, it's really a timelapse, but it's pretty amazing, So this is what the end of 2001: A Space Odyssey was all about! Time lapse sequences of photographs taken by Ron Garan fragileoasis.org/​bloggernauts/​Astro_Ron and the crew of expedition 28 & 29 onboard the International Space Station from August to October, 2011, who to my knowledge shot these pictures at an altitude of around 350 km with a high ISO HD Camera developed by NHK Japan, nicknamed the SS-HDTV camera.

5D Mark II Firmware 2.1.1 | CanonRumors Another update on a firmware update, this time with details, but the update is still not actually available anywhere to download! No noted change in video performance. Q&A | 07. { WHITE BALANCE & KELVIN } | Casey L. Warren | Blog Turn off Auto White Balance and learn about all things Kelvin: 4. Keep things consistent. To me, I focus less on getting the whites balanced and more on overall color balance & consistency. If you are shooting a narrative, then focus in on the people. If you are shooting a product demo video, the focus is on the product -- make sure that the focus of what you are shooting is kept consistent throughout different lighting environments in the piece. For example, if you were to make a brochure for the Canon 5d mark II, you would want to make sure that the black color of the camera is kept consistent in daylight, indoor, mixed, etc, etc lighting environments, and you can do this with Kelvin. Interview

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