Notes On Video

There were so many interesting things that came over the transom yesterday it seemed necessary to do a special Saturday update: Raw is not log, log is not raw. They are very different things | Alister Chapman |  XDCAM-USER.COM An important difference: Raw simply records the raw, unprocessed data coming off the video sensor, it’s not even a color picture as we know it, it does not have a white balance, it is just digital “1′s” and zeros coming straight from the sensor. S-Log, S-Log2, LogC  or C-Log is a signal created by taking the sensors output, processing it in to an RGB or YCbCr signal and then applying a log gamma curve. 10 Most Expensive Mistakes Filmmakers Make | Elliot Grove | RainDance 2. Your Friends Can’t Act I know you think your script is pretty damn good (lets face – none of your mates have the balls or the know-how to tell you it sucks) and now you really want to squander whatever nest egg your producer has whipped together for your budget? The Camera as

Google: Online searches for movie trailers can predict box office turnout with high accuracy | Salon Trailer-related search trends four weeks out from a movie release provide strong predictive power for opening weekend box office revenue. Trailer search volume on Google coupled with both the franchise status of the movie and seasonality can predict opening weekend box office revenue with 94% accuracy. Sequel to Thunderbolt is all about 4K video | Ars Technica That, in fact, is Intel's overriding message. Intel's announcement blog post focuses heavily on the creation and consumption of 4K video, almost to the exclusion of everything else. To that end, Thunderbolt 2 doesn't include an increase in the total throughput the connection can provide, but it does aggregate the data channels together. Visual: Standard Frame Rates | Indie Tips 24p or 23.98 (or 23.976 if you want to get really technical) is the most common frame rate used for motion pictures and is gener

Sony have announced some firmware updates and some special camera bundles. Special PMW-F3 Toolkit available now through August 26th! Sony doesn't say how you get the packages; contact your dealer I guess... In the PMW-F3G444 Kit, we've added an Optitec adapter to increase the range of applicable lenses to include the Canon EF series. The RGB output and S-LOG Gamma module, previously an option, are now standard equipment. The on-board XDCAM takes advantage of Sony's well-established post workflow. However, we've also included the Convergent Design Gemini 4:4:4 recorder in this package. The Gemini 444 offers several recording options that takes the PMW-F3 all the way to uncompressed RGB recording. This package has what it takes to tackle the most challenging of projects. Special PMW-F5 Package available now through August 26th! 1) The PMWF5KCLCD Kit features the PMW-F5 with the DVF-L350 3.5" LCD viewfinder. The second Kit, the PMWF5KCEL features the DVF

Canon 1D C Internal 4K Workflow | Shane Hurlbut | Hurlblog We have run many posts about the 1D C and its powerful 4K in camera capture, but I have really never discussed the workflow. Many people have asked about how I am processing these huge files, and in the blog survey, you requested more about post workflow, so I thought I would go into how we roll it out. KISS (keep it simple stupid) is our mantra. THE SONY FS700 = A PERFECT DOCUMENTARY TOOL? | Sam Price-Waldman | News Shooter Ultimately, what steered me to the FS700 over the C100/C300 was the ability to use the Metabones Speed Booster, an adapter for Canon EF lenses that gives an extra stop of light and the effective field of view of a Canon 5D (not the Super35 crop factor, as with the C300).  So … Will We See That New Mac Pro Next Week, or What? | StudioDaily Will the Mac Pro be announced next week? Maybe! Apple CEO Tim Cook promised "something really great" in this category would be released in 2013 a

Film look with the F55 on “Uncommon Enemies” |  Dennis Hingsberg DP Dennis Hingsberg talks about shooting with the Sony F55 : For setting exposure I used my light meter religiously along with the waveform monitor built into the ikan D7W. Most of the scenes I was lighting for a max contrast ratio of 5:1 but generally talent was lit between 2:1 and 3:1, or sometimes more depending on where on the set they were or how the light was suppose to be motivated. I kept middle grey in the low 30’s and any bright light sources from exceeding 60-65 IRE. the Scent | Stefan Müller | Vimeo Stefan Müller is an Independent Film director from Austria who recently purchased a Canon C100 and sent us a link to his "first real life test of the camera," a short film called "The Scent."It's nicely done - especially the dog's performance! It was shot using the internal AVCHD compression on the C100, using a Canon EF-S 17 - 55 f2.8 lens; a Rode stereo Video Mic Pro ; a Ma

How to ensure your extinction: look at what newspapers are doing | Vincent Laforet First they came for the communists: This week the Chicago Sun Times made what might just be one of the most clearly shorsighted decisions in its history:  they let go of all of their photography staff. Is Digital Democratization Of Content A Myth? | Edictive So who has benefited from the digital revolution in TV and film?  Not the content creators, certainly. Even the production of DVDs has declined, with Blu-Ray not providing the expected boost to the DVD market.   Mainly, the distributors and existing corporate players have been the beneficiaries of the digital revolution.  It’s the video streaming websites, aggregators and distributors who are making the money. Why Final Cut Pro X's killer feature may be yet to come...  | Mike Fernandes | fcp.co Maybe Apple will help with that democratization thing...? Think about that for a moment. Let's say I am an indie filmmaker. I shoot

I’ve been using Adobe Prelude to ingest media from my cameras for the last six months or so, and apart from a slightly rocky start, have been generally happy with the way things have worked. But I had an interesting ‘adventure’ last week with some media management issues. I had recorded an hour-long presentation (and some other material) using three cameras, and then used Adobe Prelude to ingest the content. Part way through one ingest, I ran out of disk space! I had to cancel the import, then spend several hours moving data back and forth to clean up enough space on the work drive to continue working. Once I had enough free space, I went back to Prelude and checked the last clip that it had imported, and then continued importing the rest of clips on the camera. Then I moved the clips to Premiere Pro and started editing. Half way through the edit, I realized that one of the clips was only 22 minutes long, not the hour-plus of the other two; I had just synced up the tracks,