Notes On Video

Workflow video: Simple post processing of 5D Mark III RAW footage in OSX | Cinema 5D Sebastian here has found a much more straightforward way to post process the raw files from the 5D Mark III which allows us to skip the relatively cumbersome After Effects conversion process. This new process only utilizes Adobe Photoshop’s raw import module New 5D Raw developments – plus my low light comparison with Blackmagic Cinema Camera | Andrew Reid | EOSHD The 4GB file size limit of FAT32 prevents continuous takes over 40 seconds currently. I asked Alex of Magic Lantern about overcoming this and he says it is perfectly possible but not a current priority. There’s a lot that comes before it – even basic stuff like assigning raw recording to a physical button.  Wait! What? You can only record 40 seconds at the moment? How'd I miss that? Easier 5D Mark III raw guide in 4 steps | Andrew Reid | EOSHD For 1080p will need a 1000x speed card, preferably 64GB as some of the higher ca

Space Monkeys, Raw Video, and Giving Us All You've Got | Prolost One of the best looks at what's going on behind the latest Canon 5D hack: But there’s a price to pay for recording 14-bit uncompressed raw. It requires crazy-fast CF cards, and you’ll only get 15 minutes of video on that 128 GB card, according to Cinema 5D, who graciously posted their workflow and samples, “after struggling for a day” to get it all working. Low light test of 5D Mark III raw vs H.264 | Andrew Reid | EOSHD The image is cleaner in low light with raw, with even exposures I rated ISO 12,800 coming out perfectly usable. I’m hesitant to say it as a matter of fact but based on my early observations the 5D Mark III seems to have surpassed the C300 as the ‘low light king’. Friendly’s “Build Your Own Burger” Campaign Shot with Blackmagic Cinema Camera | Blackmagic “It was my job to get the best images possible, and I couldn’t believe what the camera delivered in such an affordable and easy wo

Canon 5D mark III RAW vs. Blackmagic Cinema Camera RAW | Cinema5D Lots of excitement about the announcement of RAW recording with the Canon 5D Mark III : What became clear is that both cameras provide very similarly capable RAW files. You can adjust everything and everything is possible. You can get similar details out of the sky and set all you like in post. Color temperature, tint, dynamic range, no problem. The 5D is just as strong as the BMCC, providing maybe a bit more dynamic range. BIG NEWS – Hands on with CONTINUOUS raw recording on Canon 5D Mark III | Andrew Reid | EOSHD Magic Lantern have done the seemingly impossible and given us a continuous raw recording mode on the Canon 5D Mark III. Once activated in the menus the 5D Mark III becomes essentially a full frame Blackmagic Cinema Camera and amazingly mine has not yet exploded. No more short bursts of raw, this is the real thing. Andrew has taken to Twitter to post some more enthusiastic impressions: Only just s

Conversation Series: Blackmagic CEO Grant Petty Talks Pricing and 4K | The Hollywood Reporter “Too many manufacturers make products that are way too expensive or too complicated. You have to buy their service contracts … but often they are used as a way for the manufacturer to produce poor quality products and make money off the service Quick Note: Technicolor Color Assist now supports Apple’s Final Cut X | Vincent Laforet A quick note to say that the Technicolor Color Assist software which is a wonderful way to quickly set a look (or color grade/correction) on the set right there on the spot (on a shoot large or small) before those drives get shipped off into never never land… is now supported by Final Cut Pro X. 9 Tips For Low Budget Indie Filmmakers | DigiMediaDude Get a committed team.  Make sure it’s a small crew and tell them that no one will get paid (at least with $$). Own or borrow equipment.  Do not rent! Jacob Rosenberg’s Ten Rules for Filmmaking | Lar

How We Did It: SNL "Djesus Uncrossed" | Alex Buono I’m reading the script for the first time, thinking – “We’re supposed to shoot all of this…TOMORROW?”  The script was written by Zach Kanin and Colin Jost – two of my favorite writers at the show – and the scale of the spot was massive.  It was essentially: Ancient Rome and the Holy Land, to be shot in New York City with a few hours of scouting. Canon EOS C100 review – an underestimated cinema camera | Cinema 5D Here’s a camera I can truly recommend. It has no big red labels screaming things like 4K, 12bit, or 3D for that matter (that was last year’s hype), in fact it has nothing too fancy about it: It’s HD, it does 30p max and has a mediocre file compression system. But don’t be fooled by technical specs, because this camera is superb within its boundaries and a surprisingly strong, well rounded tool from top to bottom. UPCOMING WEBINARS | Assimilate Shooting, Color and Post with the Sony F5, F55 and F65 Wedne