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Audio Checklist for Video Editors | Danny Greer | Premiumbeat
Tips for editing audio:

KEEP YOUR AUDIO TRACKS ORGANIZED
Assign different audio tracks in your project to different audio types. For instance, keep all dialogue on tracks 1-4, all music on tracks 5-8 and all sound effects on tracks 9-10. Think to yourself, “if another editor had to sit down at this project would they be able to quickly identify each audio clip?”

Colorgrading Round-Up | Dennis Kutchera | Creative COW
A look at color grading software at NAB

So let me get this out of the way -- if money were no object, I would go for the FilmLight's Baselight with the amazing Blackboard 2 control surface. Every key is a miniature LED video screen and the whole thing is made of wood. The grading tools are fast and powerful at your fingertips. The Blackboard 2 even has a pen tablet built into it.

Episode #93 | Digital Filmmakers Podcast
An interview with Scott Simmons on Multicam Editing In Final Cut Pro X:

Scott Simmons talks multi cam editing techniques in Final Cut Pro X. He shares with us what production people should keep in mind when shooting and delivering multi-cam footage to editors. He also talks about sync issues, plus much more!

Filmmaking tips from a legend – Interview with Francis Ford Coppola
| Andrew Reid | EOSHD
Francis Ford Coppola recently did an interview and Andrew Reid takes some of the bits he thinks are crucial and adds his own thoughts:

“Try to disconnect the idea of cinema with the idea of making a living and money. Because there are ways around it. You work another job and get up at five in the morning and write your script. Maybe the students are right. They should be able to download music and movies. I’m going to be shot for saying this. But who said art has to cost money? And therefore, who says artists have to make money?”

Give Digital Footage an Authentic Film Look with CineGrain | Bryant Frazer
| Studio Daily
A look at this "filter" pack:

When is a plug-in not a plug-in at all? That's one way to look at CineGrain. It's a useful collection of film grain, distressed and damaged footage, and specialized looks that can be applied to your own clips in your editor of choice. But the CineGrain product isn't an effects suite or grain-simulation engine. Rather, it's a collection of actual film grain and textures, scanned at 1080p, 2K, or even 4K, depending on the package you buy.

Green Screen work | Philip Johnston | HD Warrior
Philip thinks the Canon C300 does a great job with green screens:

Recently I was filming a green screen with the Canon C300 set to 720 50p and 50Mbps, the results on FCP 7 were the best I have seen for a long time. I put this down to the 50Mbps CBR 4:2:2 which is a far cleaner image than 4:2:0. What about that shallow depth of field, how does it affect green screen, I must admit the last time I filmed green screen with a large sensor camera was with the Panasonic AF101 and the results were less than spectacular.

Shootout in extreme low light – 5D Mark III vs FS100 vs GH2 | Andrew Reid | EOSHD
Andrew does some comparison shooting using these three cameras. He also talks about removing the 5D Mark III OLPF filter:

Whilst the FS100 tends to do very well in the lows and badly in the highlights, the GH2 does badly in the lows and just ‘ok’ in the highs. There’s some clipping and crushing of shadow detail going on with that camera in extreme situations especially at the higher ISOs on display here. The FS100′s footage grades better than the 5D Mark III’s codec especially in low contrast shadowy scenes like this, there’s far less rubbish in the lows on the FS100 despite the bitrate being just 24Mbit in 24p mode compared to nearly 90Mbit on the 5D Mark III.

Note: availability on the 5D Mark III seems to be improving. B&H has had it in and out of stock the last couple of days.



High-Speed & Time-Lapse | Mike Sutton | Wide Open Camera
Mike has a lot of experience shooting high-speed and time lapse sequences and explains what draws him to these techniques:

You can make the most ordinary subject come to life when shot at one frame at a time over an expanded period. I have always loved photography so time-lapse and stop motion always felt natural. Having had a 5DMKII since it was available I am amazed I had not tried it before. Its a lot of work but well worth the reward in the end. I think because it is tedious that many avoid it or dislike it.

The Little Things Matter | Evan Luzi | The Black and Blue
Evan offers tips on getting ahead as a camera assistant with the little things; though much of this advice applies to getting ahead in any business:

How you respond verbally to other crew exposes your attitude. The physical pace at which you (reasonably) move reflects on your efforts. The amount of attention you supply reveals your passion. Your ability to competently complete tasks — and fix it when you don’t — defines your skills.

How To Make The Best Helmetcam Ever | YouTube
The DakaKin team build a serious Helmetcam. As it's for mounting a DSLR it looks rather heavy; maybe a GoPro would be better!



Premiere Pro CS6 Roundup: Switchers, First Looks, and Tips | Chris Potter
| ScreenLight
A round-up of interesting articles on Premiere Pro CS6:

Last week Rich wrote about his decision to switch from FCP7 to a combination of Premiere Pro and Media Composer instead of FCP X. Since then, Adobe released Premiere Pro CS6 (along with all the other CS6 tools) and a number of people have published first looks or accounts of switching to the increasingly popular NLE. Here is an annotated roundup of the best of those articles, as well as, some resources on how to get started if you are unfamiliar with Premiere Pro.