Wednesday, May 22, 2013

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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.

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.

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.

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