Sunday, January 22, 2012

Book Review: “The DSLR Filmmaker’s Handbook: Real-World Production Techniques”

Jeff Foster | 01/22- 02:09 PM

By Barry Andersson and Janie L. Geyen

There’s little more popular these days than being a budding Indie filmmaker slinging a 5D MkII over your shoulder and firing off hours of footage that you can then spend months editing to make your masterpiece come alive! The biggest problem is that MOST folks entering this endeavor are totally clueless about the process or where to even start - thus making every mistake in the book in the process. The DSLR Filmmaker’s Handbook: Real World Production Techniques (Sybex ISBN 978-0-470-87660-2) aims to help you get started with not only the basics of using the gear, but also the film-making production process in a visual overview - PLUS some very cool tips & tricks.

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Friday, January 20, 2012

BOOK REVIEW: “How to Shoot Movies Without Shooting Yourself in the Foot”

Art Adams | 01/20- 08:00 AM

The best books about cinematography aren’t necessarily about the art of cinematography. They’re about getting all the other stuff out of the way so you can practice cinematography. This is the book that tells you what you didn’t know—but need to know—about becoming a cinematographer.

This book is not for everyone. If you don’t eat, breathe and live cinematography… maybe you should read something else. Seriously. This book may not be for you. (But if it is… you’d better not miss it.)

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Monday, January 16, 2012

Working Pros Discuss the Canon C300

Matt Jeppsen | 01/16- 05:29 PM

Rodney Charters, Drew Gardner and Lan Bui discuss the Canon C300

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What happens when you get three working professionals together late at night with the Canon C300 camera and liquor? They shoot camera tests. And that’s exactly what happened when Rodney Charters, Drew Gardner and Lan Bui got together on New Years Eve. To test the C300’s 20,000 ISO capability, they shot a quick low-light test using an iPad for the key light. They also spent quite a bit of time discussing the camera in general; one theme they spent some time on is the effect low-light performance is having on film lighting…

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Thursday, January 12, 2012

Lytro is the new RAW?

Matt Jeppsen | 01/12- 09:07 AM

Light Field Camera for Stills, Video and 3D Applications

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If you aren’t familiar with Lytro, they are an innovative company that is very close to releasing a Light-Field Camera. This affordable consumer stills camera has the unique ability to calculate the angle of light hitting the sensor, and store that data along with the image data. Later, in post, you can refocus the image however you wish. It’s amazing technology, and there’s literally nothing like it in the consumer market. After watching an interview with Lytro’s CEO, it really got me thinking about the future possibilities of this technology as a creative tool for professionals…

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Friday, January 06, 2012

Affordable PL-mount Primes Compared

Adam Wilt | 01/06- 10:23 PM

85 minutes of lens tests!

If you’re in the market to rent or buy “affordable” PL-mount primes (e.g., under $10,000/lens), you won’t want to pass up this test.

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Sunday, January 01, 2012

So You Want to Buy a RED Scarlet?

Matt Jeppsen | 01/01- 04:09 PM

Do you really need that new camera? An intervention.

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I got a question on Twitter recently regarding the pros and cons of purchasing a Red Scarlet camera. After responding, I decided to expand my replies into this blog post in hopes that someone else may find it useful. Some of this stuff seems elementary, and I apologize if that’s the case for you. But I do think that there are many out there who will benefit from this discussion about new camera purchasing in general.

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Thursday, December 29, 2011

Slo-Mo with the GoPro HD Hero2

Jeff Foster | 12/29- 03:32 PM

Static Camera & Moving Objects @120fps

By now we’ve seen hundreds of really amazing videos with a GoPro strapped to someone’s helmet, snowboard, jumpsuit, surfboard or bike - but I wanted to explore the capabilities of the GoPro HD Hero2 shooting at 120fps in a stationary and tabletop setting and let the action happen around it… in Slo Mo!

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Monday, December 26, 2011

Sony’s FS100 camera to become “WorldCam” via free firmware update

Allan Tépper | 12/26- 07:24 AM

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Sony USA has just officially announced that the (so-far) segregated 59.94Hz FS100 camera (officially known as the NEX-FS100, often followed by a regional suffix, and then sometimes by the letter “K” to indicate that it is a kit, packaged with a lens) is about to go “WorldCam” via a free firmware update sometime at the beginning of 2012. “WorldCam” is a term used to indicate that a camera has the necessary framerates to be used worldwide, similar to an unlocked quad-band GSM phone that I have used for more than a decade to travel internationally without roaming charges. Beyond using a camera worldwide, having a WorldCam camera is also helpful when a producer needs to acquire content to be broadcast primarily in another country which uses a different framerate. This article will cover the novelistic history of the FS100’s uncertain potential capacity to become WorldCam, as well as some other improvements included in the upcoming firmware update… and some other improvements that are still missing.

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2D Footage with a Stereo 3D Rig in After Effects CS5.5
Jeff Foster

Edit and Optimize 2D Stereo Pairs from a 3D Video Camera or Twin Cameras with a Modified Stereo 3D Rig in After Effects CS5.5

How to get the “24p” look for your live-switched multicam shoot
Allan Tépper

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2D Footage with a Stereo 3D Rig in After Effects CS5.5

Jeff Foster | 02/10- 06:09 PM

Edit and Optimize 2D Stereo Pairs from a 3D Video Camera or Twin Cameras with a Modified Stereo 3D Rig in After Effects CS5.5

Adobe included a 1-step option to create a 3D Stereo Camera Rig in After Effects CS5.5, to everyone’s enthusiasm for a simpler workflow in 3D space. Great if you are working in 3D space in After Effects, but what about an easy option for 3D Stereo pairs captured by a 3D camera or twin cameras on a rig? In this tutorial I’ll show you how to quickly modify the Stereo 3D Rig in After Effects to quickly mux your L&R video files and adjust the convergence for anaglyph, interlaced or stereo pairs output.

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How to get the “24p” look for your live-switched multicam shoot

Allan Tépper | 02/10- 04:23 PM

A contracted article, sponsored by Datavideo Corporation.

Our friends at Datavideo recently asked me to write an article called How to get the “24p” look for your live-switched multicam shoot. The article covers many factors involved in accomplishing that goal, including framerate, aperture, shutter speed, depth of field, and menu settings in Datavideo’s digital HD video mixers (“switchers”) and recorders, and also the menu settings in several pro cameras from Canon, Panasonic, and Sony. The included chart explains which of the cameras have a direct HD-SDI output, and which require an optional converter to go from HDMI to HD-SDI to connect to the Datavideo digital HD video mixer. As you’ll see in the article, the approach is quite different from the workflows I normally cover, which are more appropriate when programs are to be edited, as opposed to when they are shot —and potentially broadcast— live. The graphics for this article were done by Victory Elliot of Datavideo Corporation.

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