Canon 5D Mk III to add Uncompressed HDMI Out in Firmware

Canon 5D Mk III is adding a long awaited firmware update that offers the a clean uncompressed signal via the HDMI port. The only catch is you have to wait till April 2013 (just in time for the NABshow). Press Release follows below.

LAKE SUCCESS, N.Y., October 23, 2012 – Canon U.S.A., Inc., a leader in digital imaging solutions, today announced a new firmware update for the EOS 5D Mark III Digital SLR camera that significantly improves the camera’s performance and usability. In response to requests from professionals working in the fields of cinema and television production, the firmware update enables the use of uncompressed HDMI Output support, making possible more efficient video editing and monitoring procedures. Additionally, the upgrade supports the advanced needs of photographers through improved AF performance when capturing still images.

Uncompressed HDMI Output Support
When shooting video, HDMI Output makes possible the recording of high-definition uncompressed video data (YCbCr 4:2:2, 8 bit) from the EOS 5D Mark III to an external recorder via the camera’s HDMI terminal. This, in turn, facilitates the editing of video data with minimal image degradation for greater on-site workflow efficiency during motion picture and video productions. Additionally, video being captured can be displayed on an external monitor, enabling real-time, on-site monitoring of high-definition video during shooting.

Improved AF Functionality
Even when the EOS 5D Mark III is equipped with an extender and lens making possible a maximum aperture of f/8, the firmware update supports AF employing the camera’s central cross-type points (currently compatible with maximum apertures up to f/5.6). Accordingly, the update will allow users to take advantage of AF when shooting distant subjects, benefitting sports and nature photographers, particularly when using telephoto lenses.

The new firmware update will be available, at no charge, in April 2013 from the Canon U.S.A. website and can be downloaded by end users or through Canon Factory Service Centers.

5 Reasons You Shouldn’t Wait to “Fix it in Post”

With the wealth of digital tools for post production, it’s easy to put things off for later. But usually the phrase “fix it in post” is a precursor to disaster.

If you’re a filmmaker, you’ve no doubt heard someone say, “It’s okay, we’ll fix it in post.” You may have even been the someone who said it. But waiting to think about post-production until you’re there can cost you — in money and time.

Lucky for you, The Post Lab’s Chris J. Russo recently led a class for Film Independent members on developing the best post strategy for your film. From the technical to the tactical, here are five tips from Russo to get your post-production plan started before it’s too late.

1. Work backwards – think from finish to start

Once your editor comes on board, determine what your post needs are before you start shooting. Create a post workflow from the beginning that works. “Ask yourself, ‘what kind of movie am I making?’ The next Brokeback Mountain? Or Paranormal Activity? You need to devise a plan for how to make the movie you want.”

Be prepared creatively as well. Before you walk on set on the first day of production, you should have already done all of your homework as a director or producer. That way, you can make quick decisions when the pressure is on. “When you get to post, it can cost a great deal to change creative decisions,” Russo warned.

Film Independent | Read the Full Article

Nicole Kidman – Hollywood’s Unlikely Rebel

R. Kurt Osenlund offers a portrait of Nicole Kidman, looking at her career becoming a Hollywood rebel.

While other A-List actresses have chased the kind of star vehicles that kill on opening weekend, Nicole Kidman has been quietly becoming Hollywood’s most unlikely rebel—a statuesque leading lady with a snowballing penchant for bold auteur partnerships. It’s hard to pinpoint when, exactly, the gal from Days of Thunder began her metamorphosis into the daring muse currently drawing viewers to The Paperboy (above), but many would likely cite Gus Van Sant’s To Die For as the pivotal work in Kidman’s filmography. The sheer unlikeability of the delusional, cradle-robbing viper Suzanne Stone screams of Tinseltown-bombshell repellant, but Kidman executed the role with brio and darkly comic conviction, declaring that she was more than your average risk-taker. Of course, To Die For was followed by some uncertain moves (namely Batman Forever and The Peacemaker), which slightly muddled a career that remains considerably hard to define. But when tracking Kidman’s projects from 1995 on, a refreshingly experimental variety leaps out, punctuated by increasingly offbeat, benchmark choices.

It’s fitting that the New York Film Festival’s recent gala tribute for Kidman featured a clip reel that kicked off with To Die For, opening not with the start of a career, but the start of a career renaissance. There are few top-tier actresses who seem keenly aware of—or, perhaps, interested in—making films that are as much about the director as they are about the star (you’d have to go back to Adaptation to find a Meryl Streep flick with a true filmmaker’s signature). If Kidman’s Van Sant collaboration sparked her cinephilic awakening, Stanley Kubrick’s Eyes Wide Shut grabbed her by the shoulders with a shake of artistic reassurance. Conventional wisdom understandably says that Kidman didn’t bloom professionally until parting ways with Tom Cruise, but that disregards one of the screen queen’s most unforgettable movies, a challenging drama that saw her star opposite her then husband, and seems to have planted a seed of undying directorial affection.

“I thought Stanley was normal,” Kidman says of Kubrick. “I’m not sure what that says about me.” She’s sitting on the stage of a movie theater in Lincoln Center’s Alice Tully Hall, dressed all in a deep red that matches her lipstick. Hundreds of fans fill the seats and hang on her every word, many of which involve praising the visionaries who dream up film art. She offers a disclaimer about studio heads hating her for what she’s about to say, then proceeds to condemn the luxury of huge budgets, saying shoestring productions help to fuel the creative process.

Filmmaker Magazine | Read the Full Article

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