Sunday, January 09, 2011

Career Advice for the Young DP

Art Adams | 01/09- 11:11 AM

The true barrier to cinematography success isn’t youth—it’s experience. Here’s what a budding DP needs to know about building a career.

This is my response to a question posted to the Cinematography Mailing List by a young film student who is chafing at the bit to be a director of photography as soon as possible.

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Tuesday, December 21, 2010

New Media Webinars offers fast, affordable training

Scott Simmons | 12/21- 08:04 PM

As a presenter I’ve enjoyed doing them, as a student I’ve enjoyed learning from them

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When I finished my NAB 2009 Post Pit presentation I was approached by a gentlemen who operated a website called New Media Webinars. We discussed possibly doing a webinar similar to what my Post Pit presentation about cutting a Canon 5D multi-camera concert. After a lengthy discussion upon returning from NAB we decided on the topic of DSLR Filmmaking Post  Workflows. This was my first presentation for NewMediaWebinars.com. New Media Webinars would end up with four DSLR focused webinars (thus far) on production, post, color grading and audio techniques.

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Saturday, December 18, 2010

Pro Apps PDFs!

Adam Wilt | 12/18- 07:51 PM

Oh, frabjous day: Apple offers PDF user manuals again!

The PDF link downloads a copy of the docs to disk.

OK, so maybe I’m stupid (no comments, thanks very much) and these have always been available, or maybe they’re new: Apple has PDF user manuals for Pro Apps available for download.

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Tuesday, December 14, 2010

Phantom Adventures: 1000fps on a Budget

Art Adams | 12/14- 04:45 PM

A $250,000 camera, 60,000w of tungsten lighting, 1000fps, kids, animals… what could go wrong? Not much, as it turns out.

A while back I wrote this article about some high speed tests I did in preparation for an upcoming regional spot. The results convinced the client, Rambus, that the extra expense of shooting their upcoming spots at 1000fps was well worth it.

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Saturday, November 20, 2010

Avid and RED team up for a RED workflow webinar

Scott Simmons | 11/20- 03:31 PM

You can never have enough info in the brain about RED workflow

It looks like Avid and RED are teaming up for a webinar. The date is Thursday, December 2, 2010 at 11:00 am pacific and it looks to be free. The folks presenting are notable and make this event worth watching. From RED there is scheduled to be Ted Schilowitz and Deanan DaSilva. Ted is known to all RED watchers as true face of the company. He’s the guy you see at all the industry events and trade shows evangelizing their technology, often with a prototype camera in tow. Deenan is one of the regular contributors over at Reduser and if you’ve read any of his posts he certainly knows his RED.

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Sunday, November 14, 2010

Hands-on with the Panasonic AG-3DA1 S3D Camcorder

Adam Wilt | 11/14- 05:47 PM

Using the 3DA1 at the Createasphere / Panasonic 3D Workshop

Last weekend I attended the two-day Createasphere 3D Production Workshop Utilizing Panasonic AG-3DA1 Cameras in Burbank, and got a good overview of the issues in shooting stereo 3D (S3D) content, as well as some immensely instructive hands-on experience with the AG-3DA1 S3D camcorder.

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Friday, October 22, 2010

You can reframe your R3Ds in Redcine-X

Scott Simmons | 10/22- 03:03 PM

And you can use After Effects too for creating nice closeups out of 4K media.

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When you’re working with high resolution RED media in a high-definition world then one of the advantages of the original 4K image is the ability to reframe shots in post due to the different sizes of the acquired image. You can quite literally create entirely new shots without any softening of the image since the resolution is there. It can be accomplished in RED’s free software Redcine-X though I have to admit it took me a bit of time to figure out how to do it.

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Friday, October 08, 2010

Master Multicamera Techniques is a must have book for editors

Scott Simmons | 10/08- 01:24 PM

Even if you don’t edit multicam concerts you’re bound to learn something new.

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Quite a few months ago I had a long conversation with editor Mitch Jacobson about multicam editing. The point of this conversation was to, hopefully, provide some good information on multicam editing for what was then his upcoming book about the topic. That book has finally gone into print and I picked up a copy not long ago and began reading it. Besides the much appreciated contributing writer credit that Mitch gave me (and a lot of other people who helped pull the book together) the book is a treasure chest of all things multicam.

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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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