Notes On Video

Colorists Resources Round Up Part 2 | Jonny Elwyn The last post I did called Colorist Resources was very popular so here is yet another round up of some of the latest tips and tutorials to hit the web. Upcoming Editing Workshop, and why VFX Matters | The Molecule Coming up on Saturday, June 8th, Manhattan Edit Workshop presents “Inside the Cutting Room: Sight, Sound, and Story.” The Molecule’s Chris Healer will join Academy Award winner Ross Shain and experts from Gravity World to talk about the importance of Visual Effects to post production. CARTONI JIBO Lightweight Portable Jib Can Be Assembled In Less Than 2 Minutes |  cinescopophilia The JIBO‘s innovative unique feature of the 3 easy mounting sections provides fast and easy operational flexibility and can be assembled or disassembled in less than 3 minutes. JIBO adds the benefit of diagonal tracking and elevation to the traditional pan and tilt movement of a standard Fluid Head. Petrol Bags Deca Camera and Access

Canon 5D Re-Revolution? | James Miller | Philip Bloom The 5D3 now has the ability to record a number of resolutions, limited at the moment by the speed of data written to the CF card. For now on a fast 1000x card I can manage 1920×1080 for a limited number of frames. At 1920×840 I can record until the 4GB file size is reached.  Canon 1D C vs 5D Mark III Raw (and C300 / GH2 resolution comparison) | Andrew Reid | EOSHD The 5D Mark III raw is impressive and compares closely to the C300, but has a few more tricks which elevate it. The comparison above is shot at 1080p but with an anamorphic lens to correct the 3:2 aspect ratio, the 5D Mark III goes to 1280 lines from a full frame sensor, even higher in 1:1 crop mode. It uses a larger sensor than the C300 and the footage is more gradable because it is raw. Notes for emerging composers… how to get noticed by producers | Chris Jones Blog 1. Submit what was requested We were pretty clear, we needed MP3 files with the name in

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

Coolidge Corner Theatre : 290 Harvard Street, Brookline MA 6:00 – 7:30 pm Cocktails, Food, & Networking. 7:30 – 9:00 pm Presentations. Film Development & Financing Panel Co-Presented with Women in Film Video New England (WIFVNE) Join us for a discussion on development and financing with Boston-based feature film producers Paul Bernon, Sam Slater and Blythe Robertson, moderated by journalist and WIFVNE Board Member Shannon Mullen. Paul Bernon and Sam Slater founded BURN LATER Productions in 2012 to produce and finance films, television, and web content. The company is currently in development on feature films, a television series, web content and is actively looking to produce additional content. Their film DRINKING BUDDIES, starring Olivia Wilde, Jake M. Johnson, and Anna Kendrick premiered at SXSW and was acquired by Magnolia Pictures for a August 2013 theatrical release. RSVP & More Info:  May 22nd Spring MPC Meeting at Coolidge Corner Theatre

Outlining As You Write | Stu Maschwitz | Slugline While sort of an advertisement for this script writing tool, a lot of the article is about writing, not the tool: I'm working on an outline for a feature, and I thought I'd share my process. The document I've started in Slugline will evolve from notes and ideas, to a rough treatment, to a complete outline, to a scriptment, to a completed screenplay. Throughout this evolution, I'll use various Slugline features to support my workflow. The “Frankenstein” Steadicam | Evan Luzi | The Black and Blue Interesting article about making do with what you have (and the budget you have), rather than the 'right' way to do it: I’m even more proud of the fact that we completely dismantled the RED battery mount and found a way to gaff tape it to the bottom of the Steadicam rig. Then we used the cable to juice the RED with its own batteries. This had a two fold effect: it gave us more power and it gave a greater counter

How to “sort of” give your Blackmagic Cinema Camera a Super 35mm sensor! | Philip Bloom So does it work? Absolutely. You can see clearly from the image below. It’s the same shot. Same camera, same light, same position just one is a passive flange distance adaptor the other the speedbooster. The full image is the speedbooster one which is clearly brighter, guesstimating it as about a stop brighter. CANON 5D RAW HACK – USEFUL FOR REAL WORLD PRODUCTION? | Dan Chung | News Shooter I know that sooner or later I will be shooting RAW much more often – but that might still be a few years away for most real world shooters (commercial shooters are getting there much sooner, it seems). Before then, recording, storage and post-production options need to improve and get cheaper. Right now I will only shoot RAW if I need the best possible image quality or need the extra latitude for a specific shot that would be hard to expose for any other way. Why you MUST have 4K and raw and why you a