Notes On Video

Creating Moonshine Kingdom: An Interview with Milton Horowitz and Ryan Forte | Filmmaker Magazine Mooshine Kingdom director Milton Horowitz says that, like a lot of Americans, he grew up watching too much television. This eventually led to film school at Cleveland State University, where he met cinematographer Ryan Forte. “Ryan’s younger than me,” says Horowitz. “He’s 21, I’m 32, and even though we’re 11 years apart we still love the same types of films and the same movie techniques.” 4 years of film school in 12 hours: Vincent Laforet's Directing Motion Tour (and a chance to win a free ticket). | Story & Heart Blog Throughout the workshop, Vincent stresses the importance of communication. It’s a benefit to both the people in your crew as well as to the talent and those who support the shoot from a distance—via budget, schedule, post-production, etc.—that a director or filmmaker’s vision is precise and accessible. The Quiet Season – A First Timer’s Filmmaking Experi

WOULD YOU RECOMMEND THE PANASONIC LUMIX GH4? – FILMMAKER JOE SIMON GIVES US THE LOW DOWN | News Shooter Do you think you can cut GH4 footage with other cameras like the Canon C300/C100? I think they will cut together just fine. I don’t think it will be a problem because it has such a flat setting. People think you can’t match stuff in post, but even the 5D with it’s vastly different look can be matched pretty close. WOULD YOU RECOMMEND THE PANASONIC LUMIX GH4? – SKY NEWS CAMERAMAN ANDY PORTCH GIVES HIS PERSPECTIVE | News Shooter GH4 audio menu is getting better, but lacks the options of a broadcast camera. For example to split Ch1 to top mic and Ch2 to external. I remember a disaster with my 5D mkII when the cable was ripped from the camera in a scrum. The jack was left in the socket and no sound was recorded at all! Thankfully the GH4 has a headphone socket for audio monitoring so this shouldn’t happen now. Product Review: Blackmagic Pocket Cinema Camera | PDN But there

The Video Journalist Blackmagic Camera Rig and Workflow Guide (Part One): Getting your Rig Together on a Tight Budget | wolf crow But then the Blackmagic Cinema Camera appeared on the market, and I knew this could be the camera I was dreaming for a long time. The only problem was, it didn’t really fit into my way of shooting. I do mostly hand camera under a lot of time pressure. Things are always live and happening, no one waits for me. So I had to find a way to mobilize the BMCC and make it VJ-able for a small price. Hands-on with Sony's 2014 4K televisions | C|Net Compared against the Samsung HU9000 specifically, the X950B had better blacks and shadow detail, according to the demonstration. The X950B held up remarkably well against the ZT60 as it was able to get better white highlights than the now-discontinued plasma. PICEX HONG KONG: SHRIRO SHOW ION ACTION CAMERAS | News Shooter Andy from Shriro explains that the iON Air Pro differentiates itself by being designe

Vincent Laforet on Directing, Cinematography and Knowing Your Craft | Filmmaker Magazine Laforet is currently undertaking a US workshop tour with the Directing Motion workshop, which will visit 32 cities over the next ten weeks. “I knew that there was a hunger for learning about the craft of filmmaking, and I thought this would be the natural next step,” says Laforet. “It’s a look back at everything that I’ve learned and applied, from both my work and working with other directors and cinematographers, and trying to condense that into how it relates to moving the camera and what’s in front of it.” Red Wants to Make the Dragon a Live 4K Studio Camera | Studio Daily Red is working to get as many Dragon cameras and sensors out the door as possible, but it did have some new tricks up its sleeve this year, including the Red 4K Broadcast Module ($6950), which adds an uncompressed YCbCr 4:2:2 video feed to the Red Dragon. 5D Mark III raw versus Panasonic GH4 | EOSHD The GH4 is m

IFFBoston: How Do You Interview Subjects? | Filmmaker Magazine At this year’s Independent Film Festival Boston, the panel “The Art of Documentary Film Editing: Case Studies” featured moderator Jim Hession, editor of Rich Hill, Lucia Small, director and editor of One Cut, One Life and Bryan Storkel, editor of Fight Church. An audience member asked the panel how they interviewed people and whether they prepped them beforehand, adding “Whenever I interview people, they’re always really bad talking to the camera.” Ask the Screenplay Doctor: How to Pitch a TV Series | New England Film One of my partners and I have begun creating a pitch for a new television show. We've great faith in the idea, but I've never pitched for TV before. Is there a different approach to presenting our ideas when it is time? Besides a treatment, should we have a "pilot episode" teleplay at the ready? Should we also have a synopsis of several episodes? What do you recommend? 8 Things I