Thursday, September 20, 2012

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Vimeo: Tip Jar and Pay-to-view! | Vincent Laforet | Blog
Vimeo has added a way to tip film makers...
First is Vimeo’s Tip Jar which enables us to crowdsource funds to support future work. I’m a big fan of this! Viewers will be invited to give tips before, during or after watching a video. And Vimeo will give 85% of that money straight to the creator – which is more than reasonable. And you can start doing this TODAY if you’re a Vimeo Plus or Vimeo Pro member by simply activating the feature.

Introducing Vimeo Tip Jar and more Creator Services from Vimeo Staff on Vimeo.

Panasonic GH3 hands-on report | Andrew Reid | EOSHD
There’s very minor moire and aliasing present in this early hardware. Whilst the GH2 rendered sloping horizontals and fine patterns extremely cleanly with no shimmering, the GH3 I used had a touch of aliasing and in some cases even a bit of moire on a stripy shirt viewed from a distance. VERY minor, but like the OM-D E-M5 it was there, at this early stage.

Sony FS700 Scene Files from AbelCine | Jeff Lee | AbelCine
The scene files we’ve built are an attempt to match some of the other profiles we’ve created for other cameras and should serve as a great starting point in building your own “look.” Like we’ve detailed in the dynamic range test, the FS700 offers similar range to the FS100, but the addition of Cine Gammas help the FS700 match more closely to cameras like the PMW-F3.

Nikon D800E Review | Barrie Smith | Digital Photography Review
Unfortunately, this doesn't cover the video features:
Why you would buy it: you want large images, top quality and (surprisingly!) an easy to use layout; deleting images and reformatting a card is a little circuitous, with much finger and button work
Why you wouldn’t: it’s a big baby!

Fair And Unbalanced: Encore Video and the ARRI ALEXA help DP Todd McMullen create a cinematic look for The Newsroom | David Heuring | HDVideoPro
The newsroom set gives the operators plenty of room to set up interesting angles. The lensing tends toward the long end, which keeps the characters sharp while the background goes softer. Cameras are often on dollies, and usually the lenses are Angénieux Optimo 24-290mm zooms. A sudden frame size adjustment with the zoom—when it makes sense—is part of the visual signature. "We keep the camera moving a little bit, and follow the characters and the dialogue," says McMullen.

Vulture Explains: What’s All the Fuss About The Master and 70mm?
| Christopher Bonanos | Vulture
Most films shot in 70mm are also printed in 35mm for theaters that can't handle the big format. (This is how most viewers will experience The Master.) Neither has the visual punch of a film that's shot in 70mm and projected correctly, though. Especially in a large theater, where the image is thrown all the way across a big space, it's as significant as the difference between a big TV and a screening room. 

| Scott Macaulay | Filmmaker Magazine
5. Don’t bet it all on theatrical features. Christine said that her slate at Killer Films includes not just theatrical features but TV series and web programs. Tying yourself to a feature-film aesthetic will stop you as a director from getting out there, Christine said.

Seven Steps for a Friendly Follow-up | Ron Dawson | Dare Dreamer
Establish a follow-up Up-front. The first time you correspond with Jack regarding the gig, find out what his time-table his for hiring someone. Then ask if it’s okay for you to call him again as the time approaches. You can say something like, “Is is okay if I follow-up with you an a couple of weeks to see where you are in the selection process?”

CAMERAS: Rough Guide to Color Grading with the new DSC Labs OneShot
| Art Adams | ProVideoCoalition
In the old days we shot an 18% gray card to tell a film dailies timer where we wanted our exposure placed and what color we wanted dailies to be. Now that film is being replaced by HD a simple gray card is no longer enough, because while film colors are fixed by emulsion video colors are not. A gray card in video doesn’t communicate anything about accurate color. That’s why I designed the DSC Labs OneShot dailies reference chart.

IFA 2012: Hands on: Sony NEX-5R remote viewfinder | Networkworld | YouTube
If you've ever struggled with taking a self portrait, Sony's NEX-5R has something for you: the ability to use a phone or tablet as a remote viewfinder. The camera, an updated version of NEX-5, was announced at IFA Berlin and we got a chance to try it

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