VideoDrome

If you’ve ever heard someone play an electric guitar totally unplugged, tasted raw cookie dough, or planted a seed, you know the feeling. There is potential there, but something is clearly missing.

I recently thought it would be a good idea to start writing the odd article about inspiration for cameramen.  I often think about what makes the difference between cameramen - from a basic operator, up to a top cinematographer.   I was watching...

It’s time once again for a little roundup of Useful Tools for Editors. This is the second one I’ve done since moving this category of posts back home to the Editblog. Today we’ll see a new book about Avid Media Composer, a handy tool to get clips out of Final Cut Pro X, a mask plugin for FCPX, a YouTube downloader and some cool dust particles for all your compositing needs.

You all know that I have been conducting many camera tests during prep on Need for Speed. I have been testing all of the different digital emulsions to see where they will fit into my toolbox.

In Part One and Part Two we classified professional display monitors according to our need. In Part Three, we started looking at how manufacturers classify their monitors and why. In this article, we will complete what we started.

Let’s pit the $700 Nikon D5200 against the $3000 Canon 5D Mark III and see which one comes out alive.
Since the 5D Mark III failed to impress me on its launch last year, I have warmed to it.

Report by Mat Gallagher: The results of this year’s multimedia category of the World Press Photo awards which we reported a couple of weeks ago have once again sparked a lively debate.

This is another guest post from Abraham Joffe - who recently caused a lot of controversy with his post “4k kills the photography business? The Canon EOS 1D C shooting stills!” This isn’t controversial, but indeed educational – thanks Abraham!

The first films you make are never going to be your best (unless things go really, really well, and you’ve got a bit of money behind you). Just because a movie may be someone’s first feature, doesn’t mean they’ve never made a film before.

Whilst Canon L lenses are like a fleet of company Lexus cars. This isn’t really what I want in my films. I need something different. Something with character.

In The Best Monitor for Post Production and Critical Color Grading, I outlined the top-of-the-line options that high-end post houses use.

But what if you’re not a high-end post house? Are there professional display monitors within the $6,000 to $20,000 budget that might be viable alternatives and still impress your clients? This article explores this budget range.

 Guest post by Kim Beamish / edited by Mat Gallagher Half way through 2012 my wife and I moved to Cairo, Egypt for her job.

In the early days of DSLR video the codec was probably the weakest part of the camera. With the advent of uncompressed HDMI out – the codec is no longer a weak point but sensor sampling becomes an Achilles Heel.

The Nikon D7100 is here and appears to be based around the new sensor and image processor of the D5200 which is proving rather good at video so far.

Nowadays, major franchises get the royal treatment upon release. Some video game series are expanded with original novels or comic books between release dates. The opening of many big films occurs with novelizations and video games accompanying them.

In this article, I will explain how to classify professional display monitors, and what features we should look for in a professional display monitor.

Finally, we’ll look at how to read the charts and numbers on monitor specifications. By breaking it down in simple chunks, finding that perfect monitor will no longer be a hassle.

The Nikon D5200 is the best mid-range Nikon yet for video. What is more of a surprise is the relish in which it takes on the much more expensive 5D Mark III, Panasonic GH3 and Nikon’s own flagship the D800 and D4.