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Posted by ManofSteel_UK on May 22, 2013 •
#MANOFSTEEL "From Warner Bros. Pictures and Legendary Pictures comes "Man of Steel," starring Henry Cavill ("Immortals," TV's "The Tudors") in the role of Clark Kent/Superman, under the direction of Zack Snyder ("300," "Watchmen"). In Cinemas June 14th 2013
Facebook: http://on.fb.me/16UpSOx • Twitter: http://bit.ly/YovQYB • Main Site: http://bit.ly/YNj2Kx" ...
"A young journalist raised by his adoptive parents after he was transported to Earth in infancy from the dying planet of Krypton finds himself in the position to save humankind after Earth is attacked.
Acquisition: Celluloid" ...
Read more on ShotOnWhat.com
Posted by Vincent Laforet on May 21, 2013 • "That ONE shot you missed… the one you will never forgive yourself for missing… you know the one? Yeah – the one that you never forget, even though it never happened… Outside of "killing your babies" in filmmaking parlance (translation: editing out your favorite / gorgeous shots in favor of what’s best for the edit/flow of a piece), the shots you missed are always the hardest to distance yourself from – as a director, or as a photographer come to think of it.
Well there was such a shot we never got to, when we filmed the inaugural MōVI short… one that involved a handoff… a rope… and… well let have you see the video below to understand what we were after before I completely spoil it for you." ...
blog.vincentlaforet.com Freeflysystems.com Red.com
• About MōVI, you may read and watch also: digital-cinema-tools.com/?q=Freeflysystems
Posted by RedGiantNews on May 21, 2013 • "Hey folks – we are super proud to present Red Giant BulletProof (Beta) a new on-set solution for Media Prep and Delivery. Best of all – the BulletProof beta is FREE! Download it right now!
What are you downloading? The greatest thing since sliced bread! OK, maybe not – sliced bread is pretty hard to top , but we think BulletProof is pretty awesome – and we want your help to make it even more awesome by testing it out, contributing feature ideas, and letting us know what works for you and what doesn’t. You’ll be downloading Public Beta version 1. BulletProof is free as beta software until the products full release (and we’re aiming for this summer). This version is Mac only, but we fully intend to support windows as the product further develops.
Updates We will be sending out updates of the Beta as development continues the next few months with bug fixes, performance improvements and UI tweaks. Updated versions will be made available through the Red Giant Link App." ... Rea and watch more on RedGiant.com
Posted by Ashley Clark on May 21, 2013 • On the rise at New York’s downtown film festival this year: post-Hurricane Sandy transmedia, robot documentarists, Vine, lolcats, Facebook-chat reconstructions, a crowd-boggled Paul Verhoeven, cross-format histories from the archive, a smearily digitised Charles Lane rediscovery… and three 35mm celluloid blasts from the past.
"Amidst a large and diverse programme at this year’s Tribeca Film Festival – the eleventh annual edition of the lower Manhattan-based event – the ongoing digitisation of cinema proved the underlying story. From the statistic that only three of the 89 features and 60 shorts presented were on 35mm (the remainder on digital alternative formats DCP and HD Cam), to the myriad opportunities for online engagement, the shock of the emerging was deeply felt. Tribeca also boasted a wide slate of narrative fiction and documentary films from around the world, of course; even so, many of these either explicitly, implicitly, textually or extratextually engaged with issues around evolving digital technology." ...
BFI.org.uk
Posted by Khachik Mkrtchyan on May 20, 2013 • "NOTE: This is not a scientific test, so do not expect to see charts, comparisons or anything of that nature.
Simple video shot to showcase the new 14bit RAW firmware hack by Magic Lantern. It is a stress test, since all original footage was purposely overexposed and underexposed 1, 2, 3+ stops. I wanted to see how much information and details I could bring back with simple color correction. Let me tell you something I'm very impressed.
I used the latest build and didn't experience any problems while filming. I used Hoodman Steel 1000X 64GB CF card, which I think is the best CF card in terms of build quality and read/write speed for the RAW recording.
Shot: 1920 x 1080 at 24fps • Post workflow: RAW files-DNG Converter-AE-Basic CC-ProRes4444-FCP-Final output ProRes4444 • Camera: Canon 5D Mark III with OLPF Filter removed • Lens: Canon 16-35mm f/2.8 L II, Genus Eclipse Vari ND Filter • EDITED BY: Dexter Ernst Olaf Guljé • Music provided by themusicbed.com" ... Khachik-Mkrtchyan.com
Posted by ARRI on May 17, 2013 • "Writer and director Jia Zhangke, the leading figure of the "Six Generation" movement of Chinese cinema, has recently completed work on his latest film, A TOUCH OF SIN, which has been selected to compete for the Palme d'Or at the 2013 Cannes Film Festival. His long-time collaborator, cinematographer Yu Lik-wai, shot the movie in the anamorphic format with ARRI ALEXA Studio and M cameras, recording ARRIRAW to Codex recorders. Recently, Jia and Yu spoke to ARRI and shared their experiences of shooting with ALEXA.
(...) ARRI: Did you choose to shoot in anamorphic widescreen with ALEXA in order to tap into that feeling of a martial arts film?
Yu Lik-wai: When we confirmed that the theme was going to be martial arts, we were pretty sure it would be a widescreen film. We tried to make a genre piece, and from the point of view of cinema history, widescreen's depth of field and aspect ratio are such wonderful tools that help to make genre films. So we wanted to shoot with anamorphic lenses from the beginning, which also made the best use of the ALEXA's 4:3 sensor."
Read more on ARRI.com
• Update. You may read also: Cannes 2013: Jia Zhangke's 'Touch of Sin' gets U.S. distribution, by Mark Olsen on LATimes.com
Posted by Digital Bolex on May 17, 2013 •
"What do you guys think of Jesse Borkowski's new ikonoskop footage shot after the recent firmware updates?"
"Real Value is an independent documentary film by Jesse Borkowski that explores real, profitable businesses that choose to focus not just on the bottom line, but on the health of their surrounding communities and the planet that we all share.
To these businesses, things like manufacturing goods in the USA, paying fair wages, and taking care of the environment isn’t going the extra mile - it’s just common sense. They know that their businesses work within a system, that their communities are part of this system, and that when these communities are happy and healthy, their businesses are more likely to be the same." ... Learn more about Real Value at RealValuefilm.com NothingUnderground.com Ikonoskop.com
Posted by Nino Leitner on May 16, 2013 •
"You have probably seen our extensive written guide on how to get Magic Lantern’s 24p working on the 5D Mark III, which also includes a step-by-step instruction on how to end up with usable ProRes 4444 files.
Well, as it turns out, Sebastian here has found a much more straightforward way to post process the raw files from the 5D Mark III which allows us to skip the relatively cumbersome After Effects conversion process. This new process only utilizes Adobe Photoshop’s raw import module, which allows batch processing of files (which is necessary to apply the same settings onto an entire clip consisting of individual DNG files)." ... Read more on cinema5D.com
Posted by Andrew Reid on May 15, 2013 • (...) "Important please read - My aim was to match the raw as closely in post to the H.264. The raw could have looked even better had I graded it more artistically (see DNGs on the blog) but the purpose of this test was simply to see how each perform in low light.
In the ISO 800 shot I could get approx. ISO 3200 exposure out of the shadows in the raw clip, which is why they are slightly noisier than in the ISO 800 H.264 shot. Huge dynamic range in raw.
The areas to watch out for are: • Highlight roll off and latitude around lamp and candle
• Shadows and noise
• Crushed blacks
As you can see Magic Lantern's raw is not just cleaner than the already fantastic performing 5D Mark III was in low light, it is several fathoms above in terms of tonality, colour, highlight roll off, latitude and shadow detail. There's massively more data in the image." ... Read more on EOSHD.com
Posted by Luke Neumann on May 15, 2013 • Video above: Raw Video on the Canon 5D Mark III (Magic Lantern) - "Smith Rock" (01:40). Download DNG files here. Filmed by Neumann Films and Zeke Kamm from Aviator Camera Gear. Check out his Rocket Slider, now on Kickstarter. Shot on Canon 5D Mark III with Lexar 1000x CF card • Canon 70-200mm f 2.8 L II • Nikkor Ai-s 28mm f 2.8 • Nikkor Ai-s 50mm f 1.2 • Tokina 11-16 f 2.8 • Music by Luke Neumann from "The Beacon". "The Magic Lantern Raw Video workflow tutorial covers how to process and edit raw files from Canon DSLR cameras. Download this raw file and H.264 comparison video and follow along!" ...
Download the raw files on NeumannFilms.net
Posted by Ryan E.Walters on May 15, 2013 •
"Neutral density (ND) filters are supposed to be devoid of color shift. Ideally they only affect the amount of light entering the lens, not the color balance. Unfortunately, it is very difficult to produce an ND filter that is truly neutral. This is why I set out to test four sets of filters. I wanted to see how neutral they really are. For this test I used ND filters from Schneider, Formatt, TruND, and the internal ND filters of the Canon C100. The results may surprise you, just like they did for me. Continue reading to see how these filters stack up, as well as to get access to the downloadable frames.
Why Bother?
Before we dig into the results, you may be wondering why in the world I would even bother testing ND filters. That is simple: consistency. The more consistent and the more neutral the ND filters are, the more accurate the colors will be in addition to saving time and money on set and in post.
Imagine for a moment you are shooting an exterior scene on a partially cloudy day, where the light levels are constantly fluctuating 1-3 stops as the sun goes in and out of the clouds." ... ryanewalters.com
Posted by Vision Wrangler on May 15, 2013 • "Convergent Design have made some significant changes to its Odyssey monitor series lineup introduced at NAB 2013 and now announce the full pricing for the Odyssey7 and Odyssey7Q monitors.
Most notably, DNxHD and any future supported compressed codecs (up to 1080p60 422) will now be included at no additional cost in the base price of the Odyssey. There is no additional firmware option to purchase for DNxHD support. Simply insert a Convergent Design SSD into the monitor and you have activated recording features in both Odyssey7 and Odyssey7Q.
In addition, Odyssey7 will now be a gorgeous 7.7″ OLED monitor with compressed recording capabilities only. Any additional extra cost options and features will ONLY be available on the Odyssey7Q. This makes Odyssey7 a simple solution for DSLR and broadcast, and avoids confusion between it and it’s 7Q counterpart." ...
Cinescopophilia.com
Posted by Johnnie Behiri on May 14, 2013 • "Yes, the source for the video above is a 1080p 14bit RAW shot with the 5D mark III!!! Here’s a framegrab. And a comparison to the Blackmagic Cinema Camera is in the works (give us some hours to finish the editing). But we can already say: The 5D mark III RAW module hack blows the BMCC far away!
Yesterday the developers working on the Magic Lantern hack for the Canon 5D mark III posted about their progress on a RAW hack that enables the Canon 5D mark III to shoot continuous 14bit RAW at 24 frames per second (!!!). The results are totally breathtaking, make sure you download and watch the source at vimeo: LINK
For a complete idiots GUIDE on how to achieve the RAW hack on your Canon 5D mark III see THIS ARTICLE." ...
Read more on cinema5D.com
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Posted by Vintage Lenses on May 22, 2013 • Cooke Cinevarotal Evaluation by Timur Civan • "I’ve been recently asked for advance on a proper vintage cine lens for around $1000-2000 that would work with a Super35 sensor cameras like Canon C100/300, Sony FS100/700 & others.
I think it’s quite a relevant question as a lot of people would love to own a proper cine lens, but a few can afford one, let alone a set, so we settle for modern or vintage photo glass, which is awesome, but it doesn’t take a genius to know there can’t be anything better than a lens that been specifically designed for video. There are many benefits a proper cine lens has over an average photo lens, which include longer focusing through (easier to focus with), step-less aperture adjustment (essential for video work, found on some photo lenses, but usually smoother on cine lenses), precise markings & follow focus gears (essential for focus pullers), minimal breathing (not a problem for photos, but off-putting on video, present even on expensive photo lenses), sturdy & solid construction (will withstand abuse of professional production, demanding working conditions like handling strong wireless follow focus motors)." ...
Read and watch more on VintageLensesForVideo.com
Posted by Juliet McNally on May 21, 2013 • "4K was the definitive buzzword at NAB this year, as well as CES, with a number of manufacturers releasing 4K televisions, 4K game systems, and 4K cameras. With the consumer demand for 4K content just around the corner, one of the most often asked questions is “How much is this gonna cost us?!” After polling a number of industry sources, I decided to try and break down the costs of shooting, color correcting, and finishing in 4K to show that it isn’t as intimidating as you might think.
Let’s use a typical multi-camera one-hour television drama (such as Game of Thrones) shooting six hours of footage per day with nine cameras. And let’s assume that everything is shot in ProRes 4444 at 24fps, just to make it a little easier to get some figures. Additionally, let’s say they’re using a camera that can shoot both formats, so the production equipment is the same, but the amount of media and storage will differ. This isn’t a magical camera, by the way, there are plenty of cameras that offer 4K and 1080 recording options in the same codec, as well as external recorders like AJA’s Ki Pro Quad or the new Odyssey 7Q from Convergent Design." ...
blog.abelcine.com
Posted by John Brawley on May 21, 2013 • "Warning. Read this before you watch so you understand the context and what I was looking to test…
One thing I find with digital imaging cameras is that they can sometimes be a little too perfect.
There’s no room for messing around on the edges with digital cameras. Take a DP like Harris Savides who’s reputed to have a recipe for cooking his film in an oven. This way he would artificially age and de-nature the film to get a “look”. Whilst I’m sure there are those that think they could replicate this in post, there’s nothing like the randomness of working this way where you’re literally baking in a look. At a fundamental level it affects the way the film itself works as a medium. The very randomness is exactly what we’re chasing.
There’s also bleach-bypassing, cross processing the film or fogging and flashing the film. In these cases you’re messing with what Kodak would say is the “right” thing to do but you’re getting a kind of “mistake” that ends up great for a look. Again, when you’re messing with the building blocks you get things that can’t be replicated in post. Anything to do with exposure works in this way." ...
Read more on JohnBrawley.wordpress.com
Posted by Anticipate Media on May 20, 2013 •
"In this 46th episode of the NeedCreative Podcast, your co-hosts Paul Antico of Anticipate Media and Ben Consoli of BC Media Productions talk the latest news in video production. There's a lot to review.
The NeedCreative Podcast is supported by Kessler and Rule Boston Camera.
Topics Included: Adobe force charges a subscription - our thoughts on Creative Cloud • Apple - the direction of the company, and their changing view on Pros • FCPX as it currently stands, as compared to Premiere. Much of what Paul thought was missing is actually in there. Tips on how to render sections, to get more speed out of the program, event manager, and much more • The Canon 5D3 now with raw 14-bit recording. Is Magic Lantern a magic light or a way to burn your camera? • The importance of light meters and why you want one • The Sekonic L-308DC and L-478D Light Meters • How to change your Lowel Rifa-ex to LED using the great "Cree" LED bulbs • FilmConvert - Paul discusses this amazing plugin • And much more!" ...
Download Podcast AnticipateMedia.com
Posted by Bob Zelin on May 20, 2013 •
"Stop using the high price of HDwaveform / vectorscopes as an excuse for not checking your video. Join Bob Zelin for a closer look at a real-world installation of Blackmagic's new SmartScope Duo, a practical, flexible, and yes, affordable approach to broadcast-quality monitoring."
"Many newer users to our industry may ask, "Why do I need scopes?" Since the advent of HD video taking off, and the exorbitantly high prices of conventional HD monitoring equipment, many companies have found ways of working without referring to external HD waveform monitors and vectorscopes. Those that do, have had to make do with software based scopes that appeared in programs like Final Cut Pro or AVID Media Composer. These products are almost always inferior and inaccurate. Purchasing real external scopes was almost always over $6000 no matter what brand you chose. Blackmagic changed all of that with the introduction of the UltraScope.
But so many editors worked without scopes... and TV and Cable stations often rejected their delivered videos for incorrect or illegal levels. I would often see on Creative COW forums, "the picture looks too dark" or "everything looks too yellow", or "my audio sounds distorted", but there was no accurate way for these editors to accurately monitor what they were doing at a reasonable price. Well, now there is." ...
Library.CreativeCow.net
Posted by Peter Wiggins on May 17, 2013 • "It's been a while since we featured a presentation from the LACPUG here on FCP.co. This is a good one, Sam Mestman from Lumaforge takes the audience through a 4K RED workflow on Final Cut Pro X. We like presentations from people who actually do professionally what they present. Sam Mestman, the Chief Workflow Architect from Lumaforge takes us on a tour through their 4K RED workflow on FCPX. They key behind his process is not using proxies so there is no troublesome relinking of media down the chain. He also briefly mentions the other applications that he uses that supplement the FCPX to Resolve path." ...
Read more on FCP.co LAFCPUG.org
Posted by Sony Pro Europe on May 17, 2013 • Basingstoke, 17 May 2013: "The winners of the Sony PROduction Awards 2013 were announced today following one of the most successful and fiercely fought competitions of recent years. Over 400 students, professionals, and amateur film enthusiasts, created their own short films for the chance to gain industry recognition and win the latest technology from Sony, including Sony’s Full-HD Super Slow Motion NEX-FS700EK camcorder.
The Sony PROduction Awards are designed to unearth exceptional filmmakers and give them the opportunity to further their careers. Entrants were invited to create or share an existing film of up to five minutes and submit it to the Sony PROduction Awards site, where the public could view them and vote for their favourites. The public vote closed on 26 April at which point over 10,000 votes had been received. The twenty most popular films were then judged by Sony’s panel of industry experts and four winners, one in each category, were selected. The 2013 Sony PROduction Awards winners are:" ...
PROductionAwards.Sony.eu
Posted by Art of the Title on May 15, 2013 • As for tools, we used a photocopy machine, scanner, Phantom Flex, Canon 7D, 3D Studio Max, After Effects, Illustrator… Basically every tool around me.
"Taking inspiration from the wide array of presenters at this year’s fest, Onur Senturk orchestrates the OFFF 2013 Cincinnati titles in stark and dark textural style. With a nod to the hushed grandeur of Kubrick’s 2001: A Space Odyssey, we float through the strange geometry of an aesthetic world. Among the architectural grids and the tessellation of webs, an unfurling record and a slew of ball bearings, there is always a spark on the edge of the frame — connecting each scene, uniting each part. Speaking the silent language of objects in space, the sequence creates an atmosphere of expectation and gives a sense of the celestial as each name is elevated beyond itself. ... Read and watch more on ArtoftheTitle.com OnurSenturk.tv
Posted by Vision Wrangler on May 15, 2013 •
"Right so ikan are now sellers of the LED light meter MK350 Spectrometer from UPRTek.
The UPRtek MK350 Spectrometer is a compact, lightweight illuminance spectroradiometer which can be used without a computer for evaluation of next- generation lamps such as LED, OLED and EL illumination, as well as, conventional architectural and stage/ studio lighting, even lab research applications." ... Read more on Cinescopophilia.com
Posted by Joe Marine on May 15, 2013 •
"Long Answer: Nope. There seems to be a lot of misunderstanding about what is actually happening with the new Magic Lantern hack in development that enables RAW Video output on Canon DSLRs. While it seems like some sort of magic on the surface (and it basically is), the reason this is possible is because of the RAW data stream that the camera is already outputting during normal operation. Read on for a clear explanation as well as some words from the Magic Lantern team on how this affects your camera.
One of the testers, g3gg0, posted this recently:" ... nofilmschool.com
Posted by Shane Hurlbut, ASC on May 15, 2013 • "I have received many requests for information about how I light day exteriors. I thought I would break it down for you. Lighting day exteriors is as much about choosing the right time as it is about your manipulation of the daylight. Sometimes you can choose the time that you shoot. Many times, you are locked into a schedule that doesn’t necessarily work for your lighting approach. If it is not the right time, you have to go with it and do your best.
On Need for Speed, we have a location that takes us 2.5 hours to get there. The location should be shot in the morning, but because of the crew’s turnaround the night before, we cannot get there until 8am. Sunrise is 6am, so we do the best we can to work with it. You have to say, is the location worth it? This one is absolutely worth it. You compromise the light to gain the big picture, a location that the audience will be blown away by. You do not worry that the light is not exactly how you envisioned it. Making a film is about compromises. Period. If you don’t approach a movie this way, you are being a little naive. It is all about making those compromises and turning them into a positive, every time!!!" ...
HurlbutVisuals.com
• You may read and watch also: Shane Hurlbut's Kino Flo Interviews: 'In Order to Be a Great Shooter, You Have to Understand Light', by Dave Kendricken on nofilmschool.com (3 videos)
Posted by Sebastian Wöber on May 14, 2013 • "Today we already published a test video of the impressive Canon 5D mark III RAW module enabled by the Magic Lantern hack and a guide to get it working yourself.
Here’s a side by side comparison of the 5D mark III with 14bit RAW 1080p together with the Blackmagic Cinema Camera with 2.5K RAW so you can see how the two cameras differ.
What we did: We went out with a Canon 5D mark III that had the Magic Lantern RAW module hack on it and shot with the Blackmagic Cinema Camera in RAW mode alongside.
We used the Canon 24-105mm lens on the 5D while we used the Tokina 16-50mm on the Blackmagic. Native ISO on the Blackmagic is 800 so we used that." ...
Read more on cinema5D.com
• Update. You may read Joe Marine's reaction on nofilmschool.com
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![The digital deluge: Tribeca 2013. By Ashley Clark [BFI] | Digital Cinema Tools | Scoop.it](/resources/img/white.gif)
