The Slanted Lens explans of matte boxes, discussing products of different price points on the market right now and the pros and cons of each.
F-stop/aperture/iris is one of the most important exposure elements you can manipulate. Find out what it is, what it does, and how to control it on your video or cinema camera.
Here’s a vintage gem – Pathetone Weekly asked Fashion designers in the 1930s to predict the fashion of the year 2000. They got a few things right…
Julien Chichignoud explains what is good production from an editor’s standpoint.
I tend to think that my role is important on a film. Regardless of how well you know Final Cut, Avid, Premiere or iMovie, get someone else to edit. After several days on set trying to get the imagery and the performances you had planned in your head, and after reviewing the dailies each night, beating yourself up for what you could have done better, you can be assured that you will hate your footage – or even worse, you will be in love with it. You need someone with no emotional attachment to what they are cutting. You need to keep your distance and start looking at the film the way the audience would, which is not going to happen if you spend weeks looking back through every take, and trimming every cut.
Remember that shot you spent 10 hours setting up, for which you had to hire a helicopter? Well, it’s crap. Or maybe it’s great, but if it’s not, you need someone to tell you it’s crap without caring about how much or how long you spent on it. You love that shot where the actor looks through the window thinking about his dead sister. The performance is great, right? Except nobody aside from you and the actor knows that he’s thinking about his dead sister. Having an editor on board gives you someone to take the audience’s fresh point of view.
Video and Filmmaker | Read the Full Article
Follow along as cinematographer Daryn Okada (“Mean Girls,” “American Reunion”) takes viewers inside a day working on color-correction for the film “Dolphin Tale 2.”
DBS Film Society member Sean Hickey analyzes what Lord of the Rings got right which the Hobbit didn’t.
If you’re looking to buy a more advanced DSLR from Canon, you’d probably consider the EOS 7D Mark II or 5D Mark III. Although they’re different cameras, they both a good set of features for the budding amateur enthusiast photographer or professionals. But which one should you get? Kai takes both out for a spot of bird photography to test the two cameras out.
Here are some disciplines for handling media when moving your project across multiple applications.
The modern direction in file-based postproduction workflows is to keep your camera files native throughout the entire pipeline. While this might work within a closed loop, like a self-contained Avid, Adobe or Apple workflow, it breaks down when you have to move your project across multiple applications. It’s common for an editor to send files to an Avid Pro Tools studio for the final mix and to a colorist running Blackmagic DaVinci Resolve, FilmLight Baselight or similar for the final grade. In doing so, you have to ensure that editorial decisions aren’t incorrectly translated in the process, because the NLE might handle a native camera format differently than the mixer or colorist’s tool. To keep the process solid, I’ve developed some disciplines for handling media. The applications I mention are for Mac OS, but most of these companies offer Windows versions, too. If not, you can easily find equivalents.
The first step is to get the media from the camera cards to a reliable hard drive. It’s preferable to have at least two copies (from the location) and to make the copies using software that verifies the backup. This is a process often handled on location by the lowly “data wrangler” under less than ideal conditions. A number of applications will accomplish this task, such as Imagine Products ShotPut Pro and Adobe Prelude, but my current favorite is Red Giant Offload. It uses a dirt-simple interface permitting one source and two target locations. It has the sole purpose of safely transferring media with no other frills.
Creative Planet Network | Read the Full Article
Hitch 20 is a Documentary web series exploring the film techniques of the twenty TV episodes Alfred Hitchcock directed. Ep 2: Hitchcock experiments with a stream of consciousness narration, as a man faces paralysis. A look at the film techniques used in “Breakdown” of Alfred Hitchcock Presents. (Includes some commentary from our own John P. Hess)
If you want to check out the film – it is available on Netflix as well as YouTube (although it’s in a small window)