The catch phrase of the IBC conferences was that the manufacturers should not simply offer more pixels, but “better pixels”. This is an acknowledgement that resolution is just one of the elements that contribute to image quality. The key elements for 4K cameras, workflows and television distribution that came up were:
Shoot Like An Editor: 7 Tips That Will Make You A More Valuable Shooter | DSLR Video Shooter
3. Overlap your shots
If you are filming something with a lot of action and several takes and angles, make sure you get the full action recorded from every angle. This will make edited and cutting much easier and give you the largest set of options in post.
ARRI AMIRA: THE NEW DOCUMENTARY-STYLE CAMERA | Movie Machine
Interview with Arri product manager Marcus Duerr about the Amira
Exclusive: SLR Magic ANAMORPHOT 1,33X 50 pricing announced | EOSHD
SLR Magic are now running a volunteer program providing shooters with a full kit including the anamorphic, a prime lens and a set of new SLR Magic diopters especially designed for anamorphic.
A Master Class in 5 Scenes From Gravity Cinematographer Emmanuel Lubezki | Vulture
In order to pull off the scene, then, Cuarón and Lubezki jerry-rigged the car so that some of the seats would rotate in and out, seamlessly allowing the camera (operated from the roof of the vehicle) to go wherever it needed to. But make no mistake, that car was really moving, and the shoot was dangerous and unprecedented.
How robots filmed Hollywood’s latest blockbuster, ‘Gravity’ | VentureBeat
Hollywood’s latest blockbuster Gravity was filmed by robots. Four giant industrial robots whisked props, lights and even actors around the set in a ballet of split-second precision, as well as doing the camerawork. They call it cinematic automation.
Jon Yi shooting Paul McCartney event with Canon C300 | Instagram
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FILM SCORING & MUSIC
Saturday, November 2nd. High Output Studios, Canton MA
Coffee & Bagels at 9:30 AM. Seminars from 10:00 AM – 12:00 Noon
Tuesday, October 15, Newton MA
Les Zellan, owner of Cooke Optics, will present an interactive look at the history of lens design and manufacturing from the late 1900s to the present day.
Also, Jon Fauer, ASC, Publisher and Editor of Film and Digital Times