Notes On Video

Last year's seminar series was very good. Each one consisted of a panel of filmmakers or subject matter experts talking about their experiences: Event Info & Registration:  Working Methods Seminars We are delighted to announce the dates for a new Working Methods Seminar Series.  Join us for a great collection of Seminars for 2013 with topics developed from  feedback in our first series. Each seminar will be an opportunity to learn from a panel of accomplished professionals in a relaxed and intimate environment. The seminars include time for audience Q&A and networking.    SCREENWRITING: Saturday, April 13th  High Output Studios   Coffee & Bagels 9:30 AM / Seminars 10:00 - 12:00 Noon 2013 Seminar Schedule April 13  *  Screenwriting  May 18  *  Legal Seminar  June 15  *  Branded Entertainment September 7  *  The Independent Filmmaker  October 5  *  Marketing & Social Networks November 2  *  Composition & Soundtracking

Apple aims to win over video editors | Chris O'Brien | Los Angeles Times That campaign, timed to coincide with the National Assn. of Broadcasters convention that starts April 6 in Las Vegas, will feature users like Julian Liurette, who followed the firestorm from his video editing desk in Toronto at the Globe and Mail newspaper. What's new in Final Cut Pro X [X 10.0.8]   | Apple Sony XAVC Shoot with Sony’s latest professional digital video cameras — the F5 and F55 — then import XAVC files directly into Final Cut Pro X and start editing immediately. With support for resolutions up to 4K, you can work natively or convert to Apple ProRes in the background for even better performance. ProRes Log C Multichannel Audio Editing Unified Import Streamlined Share Dual Viewers XAVC APPLE FCPX plugin [ Edited ] | Sony Here is the XAVC plugin for Apple Final Cut Pro X that enables native XAVC editing Note This plug-in requires: Final Cut Pro X 10.0.8 or higher for XAVC for

Color Grading A Glimpse Inside the Mind of Charles Swan III, Part 2: Chris Martin on the Art of the Post-Grade | Michael Murie | Filmmaker Magazine In this second part on the color grading of the movie A Glimpse Inside the Mind of Charles Swan III, Chris Martin of SPY describes his work to complete the final grade, the workflow, and the color look of the picture. Buying stock footage with the Pond5 plugin for Premiere Pro CS6 | Scott Simmons | Pro Video Coalition I used it several times when working on some stock footage based edits but hadn't had the opportunity to actually carry out the whole purchase and conform process from within PPro until a recent project. Keeping in mind this product is still in beta, here's a few cautions and gotchas that I ran across while working. The History (and Future) of Rotoscoping in After Effects | Adobe After Effects has evolved throughout the past 20 years to make rotoscoping a less eye-bleeding task. Check out how After Effec

Cinematographer Tobias Linden explains the advantages of a RED EPIC | Freytag Film No other camera manufacturer has ever polarized the filmmaking community like RED does. Since its launch, the company has led the way in terms of 4K+ acquisition, while at the same time ignoring standard business practices (e.g. upgrade paths; actual delivery dates). Today, a RED EPIC can be found on sets of big Hollywood feature productions, television, advertising and even low-budget independent films. But why is the EPIC so widely spread? RED Solves EPIC and SCARLET Fan Noise Issues, Also Introducing New Fans at NAB | Joe Marine | No Film School Jarred Land recently posted that the RED engineers have developed a new smart algorithm for controlling fan speed (and therefore fan noise): The new algorithm constantly monitors temperature and fan speed and starts quieter than the existing quiet setting for the first few minutes and then slowly steps up fan speed up as temperature increases the lon

Sidewalk Traffic: Interview with D.P. Dave Kruta | Michael Murie  | Filmmaker Magazine The most challenging thing was having to shoot that many pages with a minimal crew. There were a few nine-page days which were out of control. Many days I had only one G&E person. Many people on board were doing their first feature so there was definitely a learning curve, but I think we were successful. #SXSW2013 | Elle Schneider | Digital Bolex SXSW was the first time we’ve been able to accurately show people the weight, size, and ergonomics of the camera, and people really responded to it, taking tons of photos and videos. Hundreds of people stopped by the booth to chat with us and check out what we were doing, including backers and many who had stopped by last year to discover the project in its infancy. Digital goes back to the 70′s – 1st impressions of Dog Schnit Optiks Flare Factory 58 lens and sample photos | Andrew Reid | EOSHD On my test shoot (stills only – I have yet t

Tackling Concerns of Independent Workers | Steven Greehouse | New York Times The Freelancers Union, which is based in Brooklyn, doesn’t bargain with employers, but it does address what is by far these workers’ No. 1 concern, by providing them with affordable health insurance. Its health insurance company covers 23,000 workers in New York State and has $105 million in annual revenue. Adobe Encouraging Flights to US For Cheaper Prices |  ZACH SUTTON | F|Stoppers Adobe pushes Australian's into the Cloud. Will everyone else be next?: While this price is comparable to the US price of the product, the box prices for their products are as much as $1000 more in Australia than in the US, for essentially the same products. “If Australian customers don’t see the value of Adobe’s software, they can buy another company’s software” Robson said. “Alternatively, they can take a trip overseas or import the American version.” Self Distributing Your Film – Lessons from a Real World Case