Satoki Nagata's Lights in Chicago project is on the verge between street photography (as the candid type we know) and adding a carefully positioned off camera strobe to the scene.
Via Philippe Gassmann
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Posted by Bryce J. Renninger on March 20, 2013 •
"We asked several SXSW filmmakers from the Competitions, Headliners, Spotlight, Visions and Midnighters sections (read their interviews here) to tell us a little bit about themselves, and we also asked them some questions about their process, like what camera they used.
Riding with indie film trends, the RED EPIC, with the Arri Alexa and the Canon 5D and 7D, were the fest's most popular cameras. Here's the list of the cameras some of this year's SXSW'ers used:" ...
Indiewire.com • By the same author, you may read also: SXSW Filmmakers Prove Crowdfunding Might Not Be the Norm and Final Cut Pro is Still Alive Via Thierry Saint-Paul Delete the scoop?
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Posted by Joe Marine on February 25, 2013 •
"A lawsuit from rival RED hasn’t stopped the Sony F5 and F55 cameras from shipping on-time, and now we’ve got some more concrete information about what is currently enabled and when we can expect future features to be implemented. For FS700 owners, we also have a pretty good idea of when you can expect full 4K support from Sony with their AXS-R5 recorder, which needs a separate piece, the HXR-IFR5, to interface with the camera. Click through for all of the currently supported frame rates and resolutions, and when you can expect them to be updated." ...
NoFilmSchool.com Via Thierry Saint-Paul Delete the scoop?
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This clip is a very early, full-color Kodachrome film made by Kodak in 1922 to test new film stock and color processing. It is a lovely little four-and-a-half minutes of pretty actresses gesturing for the camera. Via Nicholas Ripley Delete the scoop?
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"They're are a lot of film purists who believe their job is to get the script shot and make it beautiful," Jeff Gomez, president of Starlight Runner Entertainment and a trans media consultant on films like "Avatar," said. Via Gary Hayes 
Gary Hayes's comment,
February 19, 5:38 AM
Agree - experiential story is a goal, but I am not sure there are enough experiments to break a new format? The draw of festival and big budgets mean most filmmakers are linear locked?
Mattia Nicoletti's comment,
February 19, 6:14 AM
Gary, I just think that Hollywood should be more open minded. The fact is that it's always about storytelling. When we have a good story and we are telling it in the right way it does not matter if it is linear or not. But as it happened in advertising when internet arrived, there were two points of view: traditional is winning, digital is winning, and only few thought that a right mix could be the right answer. Every story is different and mustbe toldi in a different way in my personal opinion.
Mattia Nicoletti's comment,
February 19, 6:15 AM
The change is always an opportunity, but it does not mean that everytime we have to experiment new ways.
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Posted by Joe Marine on February 10, 2013 •
"This one came as a bit of a surprise back in January, and now it looks like pre-orders have already begun. The KineRAW-MINI, a new camera from Kinefinity, has an identical sensor to the KineRAW-S35 (which is shipping in China). However, it forgoes some of the fancier aspects of the larger S35 — like Cineform and dual SSD slots — to create a compact and much more affordable version. We’ve now got some preliminary pricing information that should make this a very, very interesting option when it starts shipping next month (likely in China first). Check out more details below." ...
NoFilmSchool.com Via Thierry Saint-Paul Delete the scoop?
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Posted by Shane Hurlbut, ASC on February 6, 2013 • "As I embark on a long creative, exciting journey on Need for Speed with DreamWorks, I wanted to share some of my most recent findings from a five day camera test that pushed every camera to its breaking point. Our final choice was a three camera collaborative for the look and feel of this film.
“The Ultimate Camera Test”
The Director, Scotty Waugh, wanted to test all of the latest digital cameras that have come out recently as well as some that have been around for four years, which is rare. He wanted to find his emulsion. I am tested out, so we are going to take a break from tests for a while. Stay tuned for four upcoming posts that will start with the Black Magic camera in a few weeks. We tested: ... HurlbutVisuals.com Via Thierry Saint-Paul Delete the scoop?
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The popular GH2 camera has received a price discount bringing it down to just $499 (until Dec 31st) . If you're capable of hacking the camera, it's the lowest price i've seen for this all year. Prices are available at both B&H and ... Via Tony Anastasi Delete the scoop?
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HD Videoshop's insight:
amazing! 
Dee KC's curator insight,
February 9, 5:36 PM
With my mac arriving on Monday I'm glad ths was posted Delete the scoop?
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Posted by Roger Cicala on January 22, 2013 •
"A few days ago I learned about the Metabones Speed Booster. For both of you who haven’t heard yet, this is an adapter containing optical elements and electronic controls that allows you to mount Canon EF lenses to Sony NEX cameras (other versions are planned for other lenses and cameras). The quick summary is the adapter is the opposite of a teleconverter.
A teleconverter spreads out the light leaving the lens so that only the center portion reaches the sensor. The result is the focal length of the lens seems longer (the image is magnified), but at the cost of reducing the amount of light (effective aperture) of the lens. The Speed Booster compresses the light leaving the lens onto a smaller image circle. This makes the focal length seem shorter and actually increases the amount of light reaching the sensor." ...
LensRentals.com Read also Andrew Reid's article: Metabones Speed Booster adapter – full review at EOSHD.COM Via Thierry Saint-Paul
HD Videoshop's insight:
Speedbooster revisited! Delete the scoop?
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Many of us have commitment issues with television, because we've been burned so many times by weak or overblown endings. Via Gary Hayes
Gary Hayes's curator insight,
January 18, 5:20 PM
You know who I'm talking about — the character who was sort of cute when they stood in the back and had the occasional funny line. Or someone who was a mysterious, shadowy figure, until we learned all about him or her. Or someone who was always sort of obnoxious and jerky, but less goody-two-shoes than the rest of the cast. In any case, sometimes a vocal group of fans will latch on to a particular character as a "fan favorite," and start clamoring for him/her to get more screen time. And the producers oblige, until suddenly the whole show is about this character, instead of the people you thought it was about all this time. And that usually means the resolution is going to be really, really weird. Delete the scoop?
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ETHICS: I have no business relationship with either Metabone or Conurus. They asked if I wanted to borrow a new lens adaptor for review that was Delete the scoop?
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Griffin receives his Panasonic GH3! And compares it to the previous model: GH2. Via planetMitch, ABroaderView Delete the scoop?
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Two of the events I was most looking forward to seeing this year at SXSW Interactive were Jason Brush's talk, Filmmaking as User Experience and Michel Reilhac's Via fabienne Olivier Delete the scoop?
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Posted by Matthew Allard on March 6, 2013 • (...) "The KineRAW is an interesting camera. It has a very unique look that I can’t really explain. I like the grain and noise structure, and while it may not resolve as highly as some other cameras, I’m still amazed that a small company from China has been able to create such a low-cost RAW camera. It’s an incredibly easy camera to operate, and even though it was an engineering sample, it never once stopped working or had a single problem. You need to use a IR ND filter with the camera, as we encountered a lot of IR pollution. The other I dislike about the KineRAW is the camera’s rolling shutter (jello effect). Luckily for this shoot we didn’t have a lot of fast camera movements so it isn’t really obvious." ... Read more on DSLRnewsshooter.com Directed by ClintonHarn.com KineRAW.com Via Thierry Saint-Paul Delete the scoop?
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Posted by Matt Feury on February 13, 2013 • "This previously missing gem with features editor Eddie Hamilton was recorded live on our stage at NAB 2012. Eddie shares his passion for the art of editing and gives a behind-the-monitor look at the techniques he used on the films X-Men: First Class and Kick-Ass." ...
community.avid.com/blogs/theroughcut Via Thierry Saint-Paul Delete the scoop?
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This clip is a very early, full-color Kodachrome film made by Kodak in 1922 to test new film stock and color processing. It is a lovely little four-and-a-half minutes of pretty actresses gesturing for the camera. Via Nicholas Ripley Delete the scoop?
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Posted by Joe Marine on February 10, 2013 •
"This one came as a bit of a surprise back in January, and now it looks like pre-orders have already begun. The KineRAW-MINI, a new camera from Kinefinity, has an identical sensor to the KineRAW-S35 (which is shipping in China). However, it forgoes some of the fancier aspects of the larger S35 — like Cineform and dual SSD slots — to create a compact and much more affordable version. We’ve now got some preliminary pricing information that should make this a very, very interesting option when it starts shipping next month (likely in China first). Check out more details below." ...
NoFilmSchool.com Via Thierry Saint-Paul Delete the scoop?
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Posted by Emm on February 9, 2013 • "Robert from JuicedLink has been working and testing many (of what he calls) ‘anomalies’ with the early BlackMagic Design Cinema Camera. This video provides us with great information on what to be aware of, what settings to have, and what additional equipment will help you to obtain better audio direct into the BlackMagic Design Cinema Camera." ... CheesyCam.com Via Thierry Saint-Paul Delete the scoop?
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Posted by Joe Marine on February 2, 2013 • "A solid color grade can very quickly take the edge off an image that looks “too digital.” If you don’t have much time to spend on said color grade, but you’d like to get a great look very easily, a film LUT that attempts to recreate some of the magic we get from Kodak and Fuji stocks could serve you well. We’ve discussed FilmConvert a bit before, but basically it’s either a standalone program or a plugin for the major Apple and Adobe products that uses the color science of the specific camera you’re using in order to precisely match the film stocks they have in their system. Now they’ve introduced another update, this time including support for the Canon C300 and the Arri Alexa." ... NoFilmSchool.com via cinema5D Via Thierry Saint-Paul Delete the scoop?
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From ARRI Alexa to Sony HVR: What the 2013 Sundance Filmmakers Shot On Indie Wire Not surprisingly, the ARRI Alexa, Canon 5D, the RED Cameras and Sony EX3 and F3 were some of the most popular choices. Via Tony Anastasi Delete the scoop?
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Posted by Vision Wrangler on January 22, 2013 • "Olympus Imaging Corp. and Panasonic Corporation jointly announced that five more companies have recently declared their support for the standard and will be introducing products compliant with the Micro Four Thirds System standard. What does it mean? Probably an active Micro Four Thirds BMCC mount some time very soon and not the Passive one being flogged off. Does it mean more than that?" ... Cinescopophilia.com Via Thierry Saint-Paul Delete the scoop?
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Posted by PVC News Staff on January 18, 2013 • "Blackmagic Design today announced a major release of DaVinci Resolve 9.1, the latest update to the world’s most advanced color correction tool. DaVinci Resolve 9.1 enables customers to use Resolve with Apple’s Macbook Retina technology, the world’s highest resolution notebook display. Retina based notebooks have quickly become one of the most popular tools in the post production world, and with 9.1, DaVinci Resolve will be able to run on the 15” Retina MacBook Pro at the best image quality setting. DaVinci Resolve 9.1 also features support in XML for FCP X Audition, a popular feature in FCP X which provides the ability to stack and scroll through multiple shots in a single location in a timeline, allowing Resolve users to easily transfer files between the systems for a highly efficient workflow. Improvements in mixed frame rate XML integration will allow better workflows between Resolve, FCP X and Final Cut Pro 7 projects. DaVinci Resolve 9.1 also supports improvements for Avid AAF, Sony XAVC and AVC-Intra files and a number of audio and performance improvements." ... ProVideoCoalition.com Via Thierry Saint-Paul Delete the scoop?
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Posted by CanonWatch on January 14, 2013 •
"Digital Camera World made this handy chart. Want to know which Canon DSLR can used with what type of memory card?" ...
CanonWatch.com Via Thierry Saint-Paul Delete the scoop?
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Posted by Dave Van Hoy on January 3, 2013 • "In December Advanced Systems Group (ASG) focused our annual workshop on 4K and large raster production workflows. 4K has become the new HD, and professionals at every level of the production process have begun to embrace the benefits of higher resolution video acquisition – and the challenges of the data-intense workflows required to make them functional. Not only does 4K provide more pixels for improved resolution, but the potential for high dynamic range (HDR) in terms of latitude and expanded color gamuts delivers greater color and contrast fidelity. Today’s HD broadcasts typically deliver 8-bit color resolution, but 4K provides 12-16 bit color resolution. 4K also rivals the look and colorimetry of film, which is prompting episodic television producers to replace 35mm film productions with large raster video options that future-proof programming for 4K delivery." ... BroadcastEngineering.com Via Thierry Saint-Paul Delete the scoop?
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