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Easy music video multicam editing in Final Cut Pro X

Easy music video multicam editing in Final Cut Pro X | Indie Filmmaking | Scoop.it
Easy music video multicam editing in Final Cut Pro X
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Indie Filmmaking
Independent Filmmaking news, stories, and links about and for filmmakers. With a techie angle.
Curated by Jeremy Wilker
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Final Cut vs. Premiere: Speed/quality tradeoff?

Final Cut vs. Premiere: Speed/quality tradeoff? | Indie Filmmaking | Scoop.it

A surprising article by Noam Kroll provides evidence that the quality of Adobe Premiere Pro CC's H.264 exports are noticeably worse than those from Final Cut Pro X:


After seeing this I can confidently say that I will not be compressing to H.264 using Premiere Pro or Adobe Media Encoder any more. The image from Premiere is so much blockier, less detailed, and muddy looking, not to mention that the colors aren’t at all accurate.

In fact I even did another output test later on with Premiere Pro set to 20,000 kbps and FCP X only set to 10,000 kbps and still the FCP X image was noticeably higher quality, so clearly something is up.

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Editing with Final Cut Pro X on an 11 inch MacBook Air

Editing with Final Cut Pro X on an 11 inch MacBook Air | Indie Filmmaking | Scoop.it
You can well and truly edit on an 11 inch MacBook Air. I flew from London to Australia, with a desperate deadline hanging over my head. I managed to cut several hours of interviews down to a manageabl
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Cannes Cinema Edition P2 Aerial Kit

Cannes Cinema Edition P2 Aerial Kit | Indie Filmmaking | Scoop.it
Comes with:

DJI Phantom 2 Go Pro Aerial Rig
DJI Zenmuse H3-3D Gimbal (3-Axis gimbal pre-installed and tuned)
DJI Self-Tightening 9" Props (set of 4)
DSLRPros 9" Carbon Fiber Props (set of 4)
Jeremy Wilker's insight:

buy one entire package right here... just add a gopro

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Nikon D810 Animator's Kit

Nikon D810 Animator's Kit | Indie Filmmaking | Scoop.it

The animator's kit contains what you need to get started in the incredibly fun and exciting medium of stop motion animation. A full-frame Nikon DSLR with the latest image features combined with the AF-S VR Micro-NIKKOR 105mm f/2.8G IF-ED is the first step of the process. Together with the stop motion animation software Dragonframe™, used on many Hollywood blockbusters, you'll be up and running in no time. To ensure the motion doesn't stop, included in the kit is an EH-5b/EP-5b Power Supply and Connector for continuous power to the camera.

Jeremy Wilker's insight:

very cool kit for stop-motion animation

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Scientists Announce Worlds Fastest Camera, Capable of Capturing 4.4 Trillion Frames Per Second

Scientists Announce Worlds Fastest Camera, Capable of Capturing 4.4 Trillion Frames Per Second | Indie Filmmaking | Scoop.it
No, that’s not a typo. A team of 12 scientists from The University of Tokyo and Keio University, have developed a camera that is capable of capturing 4.4 trillion frames per second using a technology called Sequentially Timed All-optical Mapping Photography (STAMP) according to a release posted on Nature.com. According to the team, STAMP makes it [...]
Jeremy Wilker's insight:

zoinks. but it doesn't do 4k??!? (kidding)

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Can the Sony a7S really give good skin tones? David Carstens has the answer

By site editor Dan Chung: Sony A7S SLOG-2 Workflow from Espionage Films on Vimeo. Since the a7S came out there have been numerous tests and reviews highlighting the camera’s low light and noise per...
Jeremy Wilker's insight:

excellent and quick tip to using SLOG-2 on the Sony A7s camera.

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Making Project Management Simple and Efficient

Making Project Management Simple and Efficient | Indie Filmmaking | Scoop.it
Project management is an issue that industry professionals of all sizes and types deal with. Keeping track of shots, figuring out how to collaborate with someone who’s on the other side of the world and trying to organize budgeting and scheduli...
Jeremy Wilker's insight:

ftrack, looks pretty good. have you used it or do you use something else?

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Libraries, fixing time lapses with optical flow and audio repair in this set of FCPX tutorials

Libraries, fixing time lapses with optical flow and audio repair in this set of FCPX tutorials | Indie Filmmaking | Scoop.it
Is it our misguided impression, or are there more cracking tutorials out there for Final Cut Pro X than any other NLE? True or not, we thought we would list some good ones from the last few days.
Jeremy Wilker's insight:

interesting way to use optical flow to recreate a missing frame of a timelapse.

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Should Filmmakers Think About Distribution Before They Start Shooting?

Should Filmmakers Think About Distribution Before They Start Shooting? | Indie Filmmaking | Scoop.it
How early should filmmakers think about the audiences of their film -- and whether they can get a distributor? Sundance NEXT filmmakers weigh in.
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Marco Santiago's curator insight, August 14, 12:07 AM

Great article!!! I have to say that, as a filmmaker, I consider myself an artist, but all filmmakers should be very critical of their work with respect to its commercial potential as well. I have a problem with filmmakers that are so narrowly focused in the creative integrity of the art, that they lose focus off the fact that the whole idea of making a serious movie, especially with other people's money, is that the movie ultimately benefits from having an audience. Without an audience, I don't care how visionary the story is, or how well it's executed technically, then it is not worth telling. If your movie is preaching to the quire, then you're really not doing anything to extend your vision to anyone beyond yourself and the people that don't need any convincing about the theme of your story. Story telling is about offering an audience a unique point of view - surprise them, challenge them, but most of all entertain them. With that said, here are the types of filmmakers and producers that tend not to make it in the industry and in my opinion they exhibit the following characteristics:

Arm’s length (creative protectionist) attitude toward distributors, often blaming distributors for their film’s lack of distribution in the market.love-hate relationship with distribution companiesoperating styles often promotes strained production financing, which then comes partially or wholly from private sourcesResults in their pictures under-earning for lack of market preparationCauses some of their theatrical feature films to receive marginal theatrical distribution if none at all.

 

Some of these filmmakers and producers exhibit technical and creative excellence, and may produced a movie or two that achieve great critical success and maybe even an academy award or two, but over the long term, their high risk operating style forces them out of the market more often than not. I’m mainly talking about the producer or production company (not the director). There is a difference.

 

First time producer in this category will typically assume a “festival” or “Sundance path” to success. Of note, consider that over 2000 feature films are submitted for consideration each year to Sundance. Of those only about 200 are accepted, and of these maybe a hand full get a theatrical distribution deal.

 

It is interesting to consider the “creative protectionists” producer’s point of view where their film is concerned. They may defend their approach by asserting that distributors involvement in the development cycle of a motion picture dilute or threaten the creative integrity of their picture. This is perhaps true in most unfortunate circumstances. And from a purely artistic perspective this may be true in general. The question should then be asked, are producers motivated only by the opportunity to express their vision of the story – or would they also like to share their vision with audiences and earn a profit so that they can continue to express their vision and have a chance at making a statement on a consistent basis?

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TOKINA CINEMA LENSES

TOKINA CINEMA LENSES | Indie Filmmaking | Scoop.it
Jeremy Wilker's insight:

Tokina now has Cine versions of their lenses, mainly the wide-angles. Good? Great? Let me know.

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Inside YouTube's Fame Factory

Inside YouTube's Fame Factory | Indie Filmmaking | Scoop.it
At Vidcon, thousands of teenagers line up to see their favorite YouTube celebs--and learn how to be more like them.
Jeremy Wilker's insight:

fascinating.

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New BMPCC Owners, Here's How to Get Snappy, Vibrant Color from Your Flat Footage

New BMPCC Owners, Here's How to Get Snappy, Vibrant Color from Your Flat Footage | Indie Filmmaking | Scoop.it

Chances are that, unless you live under a rock, you know that the already-reasonable price of the Blackmagic Pocket  Cinema Camera dropped dramatically earlier this month. As such, I think that it is pretty safe to assume that there are quite a few new owners of the bite-sized camera. For some, the post processing of the BMPCC footage will be similar to what they’ve experienced with many of the other cinema cameras that shoot log footage and RAW. However, for people who are just starting to work with the flat images from the Blackmagic Film Gamma, getting an appropriately colored and aesthetically pleasing image can seem like a daunting task. Luckily, Casey Faris uploaded a fantastic tutorial that will show you how to get snappy color from both yourBMPCC ProRes and RAW files inside of DaVinci Resolve.

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New audio enhancements in Final Cut Pro X 10.1.2

New audio enhancements in Final Cut Pro X 10.1.2 | Indie Filmmaking | Scoop.it
We return to tutorials with Mark and Steve this time in this new episode of MacBreak Studio. We welcome back being able to bump all audio levels up and down without having to move keyframes individually.
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1 Beyond Announces ThunderTape 2 LTO-6 Drive with Second Bay

1 Beyond Announces ThunderTape 2 LTO-6 Drive with Second Bay | Indie Filmmaking | Scoop.it

1 Beyond said its new ThunderTape 2 Thunderbolt-connected LTO-6 tape drive includes a second device bay for a second LTO drive, a high-performance SAS disk, a 1 Beyond GoHDCart disk cartridge, or a 2.5-inch SSD or HDD RAID.

The original ThunderTape, launched last April, included a single LTO dirve. The company said "most customers" wanted more than a single-drive system, leading to the development of the updated version.

Configured with a second LTO drive, the ThunderTape 2 can be used to make two identical tapes in a single pass, to write to one tape while reading from the other, or to migrate files from one LTO tape generation to another. 

Jeremy Wilker's insight:

well, it looks functional but it doesn't look pretty

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The Easiest Way to do a 4K Screening

The Easiest Way to do a 4K Screening | Indie Filmmaking | Scoop.it
Our 4K screenings look better, sound better, and we have almost no room for technical issues because we do things this way.
Jeremy Wilker's insight:

true. ask your film festival if you can just send them a quicktime file. I know of a few that project direct from files on a computer and it works/looks great.

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How to import your project into DaVinci Resolve 11

In this video Alexis Van Hurkman quickly explains the process of importing AAF, EDL, or XML's into DaVinci Resolve 11 from other Non Linear Editors like Avid...
Jeremy Wilker's insight:

from FCPX, Premiere Pro, FCP 7, etc... as long as it is XML. Or AAF from Media Composer

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Video: Michael Schmidt hacks a better eyecup for the Sony a7S

Guest post by Michael Schmidt: SONY A7s Eyecup - how to fit the Hoodman HoodEYE from FILM...SOUND...COLOR on Vimeo. The Sony a7S is light,small and captures amazing video. The low light sensitivity...
Jeremy Wilker's insight:

that's a nice little solution.

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Red Giant Releases Primatte Keyer Version 5.1

Red Giant Releases Primatte Keyer Version 5.1 | Indie Filmmaking | Scoop.it
Red Giant, makers of essential software tools for filmmakers, editors, VFX artists and motion designers, today released Primatte Keyer 5.1, an update that adds support for Adobe Premiere Pro, Apple Final Cut Pro X (FCP X) and Motion. Using the same k...
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Missing Final Cut Pro X plugins when moving projects between Macs? - Alex4D

Missing Final Cut Pro X plugins when moving projects between Macs? - Alex4D | Indie Filmmaking | Scoop.it

Read this as a first step in understanding why even though you have two Macs with the same plugins installed, when you move a project from one computer to another you sometimes get the following image in your viewer

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Building a 64 layer chessboard project in Final Cut Pro X

Building a 64 layer chessboard project in Final Cut Pro X | Indie Filmmaking | Scoop.it
A chessboard made out of 64 HD clips - all made possible with FCPX and a new Mac Pro. Svein Sund explains how he accomplished this massive project.
Jeremy Wilker's insight:

fun video for a chess tournament. LOTS of layering.

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Atomos Samurai Blade price just dropped by 20%

Atomos Samurai Blade price just dropped by 20% | Indie Filmmaking | Scoop.it
We know the Atomos Samurai Blade as it is one of the most affordable 10-bit SDI harddisk recorders out there. Today Atomos dropped its price by 20%.
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Review: Lockport A7 - hdmi lock on your Sony A7S

Review: Lockport A7 - hdmi lock on your Sony A7S | Indie Filmmaking | Scoop.it
The Sony A7S offers unseen lowlight capabilities as a video camera, but its fragile hdmi port is prone to damage. The Lockport A7 locks your hdmi lock.
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EditReady : Transcoding Without The Hassle

EditReady : Transcoding Without The Hassle | Indie Filmmaking | Scoop.it
Transcode GoPro, Blackmagic, Alexa and other H.264 and ProRes files to ProRes or DNxHD on your Macintosh computer using EditReady.
Jeremy Wilker's insight:

I've used ClipWrap in the past, this also looks quite useful. Anybody tried it yet?

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Resolve Workflow Test Results - FCPWORKS

Resolve Workflow Test Results - FCPWORKS | Indie Filmmaking | Scoop.it

Sam here. Did some pretty comprehensive FCPX roundtrip tests today using a whole bunch of different types of media in the new Resolve 11 Beta (#2)… tests were done in a 1080p 23.98 timeline… but so far, the results are really promising. At this time, there are only two major issues with the roundtrip:

1. Synchronized clips were not working at all.
2. Synchronized clips created through Sync N Link were also not working (might be part of the same problem).

Jeremy Wilker's insight:

looking really good!

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New PluralEyes 3.5 Released as Part of Shooter Suite 12.5 Update

New PluralEyes 3.5 Released as Part of Shooter Suite 12.5 Update | Indie Filmmaking | Scoop.it
Today, Red Giant has released Shooter Suite 12.5, which includes new versions of two Shooter Suite products: PluralEyes 3.5 and Instant 4K. New to the suite is Denoiser II, Red Giant’s powerful video noise reduction tool. Also included are the ...
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