Steve Ackerman from Canon breaks down what you should consider when deciding to pick up your next Canon lens.
Graham Chapman, probably best remembered as ‘the dead one from Monty Python’, writes and stars in the animated movie of his own life story, A LIAR’S AUTOBIOGRAPHY. Although Chapman selfishly dropped dead in 1989, he had taken the trouble to record himself reading his book, A Liar’s Autobiography — and those recordings have now ingeniously been used to provide Chapman’s voice for the 3D animated feature of the same name. Fellow Pythons John Cleese, Terry Jones, Michael Palin, and Terry Gilliam also turn up, playing themselves and other characters, along with a few surprise guests.
Not a documentary, not a Monty Python film, A LIAR’S AUTOBIOGRAPHY is Chapman’s own take on his bizarre life and his search for self-knowledge, bringing Chapman back to life in an ingenious tour de force of animation, told through 17 different animation styles from 14 different animators.
Incredible, yes. Surreal, certainly. True? Who knows? At his memorial service, John Cleese called Chapman “a freeloading bastard”. Now, as the film re-unites Chapman with Cleese, Jones, Palin, and Gilliam for the first time in 23 years, he is set to earn a new title — the most prolific corpse since Elvis.
A Liar’s Autobiography is playing TIFF this week and will see a limited US release on November 2, 2012.
Adam Everett Miller explains the finer details of text animation in Adobe After Effects: from the Range Selector to “Ease High” and “Ease Low” parameters.
If you listened to our interview with Dan May, you heard him say that Blackmagic Cinema Camera’s future was open for discussion. Now we’re seeing the first iteration of the camera – one that sports a Micro Four Thirds option:
Get an even wider range of lens compatibility with the Blackmagic Cinema Camera MFT with Passive Micro Four Thirds (MFT) mount! Perfect for MFT lenses or even adapters to other lens mounts such as PL. You get the same beautiful design that features a machined aluminum chassis, interchangeable optics using Passive Micro Four Thirds (MFT) lens mount for manually operated lenses and adapters, high resolution 2.5K sensor, 13 stops of dynamic range and 12-bit RAW uncompressed and compressed ProRes and DNxHD file formats! Includes sun shield, power supply, carry strap, UltraScope waveform monitoring software and a full version of DaVinci Resolve Software for Mac OS X and Windows.
Joe Marine of NoFilmSchool.com talks about the different options Micro Four Thirds brings to the table:
Now users have some choices to make. If you go with the Canon mount camera, you’ll be able to enjoy electronic control of the lenses as well as image stabilization (at some point, since it’s not enabled just yet). If you go with the MFT version, you won’t be able to use Micro Four Thirds lenses that do not have an iris ring, as there will be no way to control the aperture — not to mention all other lens mounts will need adapters that can handle lenses without an iris ring if you choose to use one. The only way that automatic iris MFT lenses will work is if the iris opens to full wide as you mount the lens, and then you would only be able to use the lens at its widest aperture. Admittedly I don’t know how this will work on the new camera, but you will most likely want to stick with manual iris MFT lenses.
This definitely makes the camera a lot more interesting for a lot more people. While we could get really picky and ask for completely interchangeable mounts, the fact that Blackmagic listened to the complaints and is introducing a MFT model is a huge deal. What this really means is that the BMCC can now use almost any lens ever made, including expensive PL glass — without needing to modify the back of the lens. Check out this handy chart from Samuel Hurtado to see exactly what lenses you can adapt.
So now that we’ve gone over lenses for the EF only model, let’s go over what lenses might work well with this camera — and their equivalent 5D Mark II/Mark III field of view (since they need to have a manual iris):
Voigtlander Nokton 25mm f/0.95 Micro Four Thirds Lens (57.5mm)
Voigtlander Nokton 17.5mm f/0.95 Lens for Micro 4/3 Cameras (40.25mm)
SLR Magic HyperPrime 50mm F0.95 micro four thirds (115mm)
SLR Magic HyperPrime CINE 12mm T1.6 micro four thirds (27.6mm)
So there are definitely some interesting options now at the wider end, especially those lenses capable of opening up all the way to f/.95 (which also give you another stop in low-light over an f/1.4 lens). So while this news isn’t perfect, it’s about the best thing Blackmagic could have done based on all the feedback with the EF mount only camera body.
NoFilmSchool | Read the Full Article
Scott Myers applies a quote about music he heard while working as a musician in Aspen to the high stakes game of Hollywood screenwriting.
This is actually a lesson I learned before I became a screenwriter. After I graduated with an M.Div. from Yale and turned my back on an academic career — although I didn’t know it at the time, only thought I was taking a year off before I went on to a doctoral program — I played music professionally for 7 years, then did stand-up comedy for 2. So before I wrote and sold the spec script K-9, I worked in the entertainment business for nearly a decade.
One thing that stuck with me was a quote. I attribute it to Levon Helm, formerly the drummer of The Band, but I’ve never been able to find a source online to confirm that. The quote as I remember it is this: “Music don’t owe anybody a living.”
Go Into the Story | Read the Full Article
The crop factor involved with Black Magic Cinema Camera has been a common complaint, but it’s nothing new to folks used to shooting with Super 16mm. The folks at One River Media put together a little comparison chart of wide angle lenses on the BMCC.
Since the announcement of the Blackmagic Design Cinema Camera last April at NAB, there’s been a lot of speculation that this camera wont be able to shoot wide. This simply isn’t the case. If you think back to Super 16mm film or ENG cameras of old that shot using 1/3-inch to 2/3-inch sensors, you’ll quickly realize there were in fact options to shoot wide with those cameras.
So during this time, the first thing I actually tested was wide-angle usage. As expected (and as theorized with my calculations based on my Cinema Camera article on Creative Cow last April), the Cinema Camera can shoot wide, and in some cases, perform a variable crop function on certain lenses that vignette or pinhole on other cameras with larger sensors.
One River Media | Read the Full Article
Moving blankets were never made to absorb sound, but Audimutes sound absorbing blankets are. Emm at Cheesy Cam demonstrates how he uses a few blankets to kill the reverb in a large warehouse.
It’s nice to work in large spaces, but sometimes those large spaces will cause echo in your audio. Too much echo can be distracting to the viewer. Adding furniture like couches, or even inviting more people into a room will help to absorb sound, but that’s not always possible. So in this space I setup Audimute sound blankets on Light Stands to help absorb some sound, block deflection, break up the emptiness, and just add texture.
Cheesy Cam | Read the Full Article
Turn an old pair of jeans a bag of lentils or popcorn into a stable platform for your camera.
Getting down to your subject’s eye level, whether it’s a squirrel or a bird, can create a really intimate and natural portrait. But just laying down and relying on your elbows as a camera support isn’t very comfy, or solid enough to reduce camera shake and ensure proper, sharp pictures.
In the latest installment in our DIY Photography Hacks series we’ll show you how to reduce camera shake by making a great SLR support for the price of a bag of lentils and a dodgy old pair of old jeans!
Digital Camera World | Read the Full Article
Via Peta Pixel
Shane Hurlbut reveals the tests he put the 4k Canon DSLR through including tests for ISO, low light performance, moire, and lattitude.
Once we finally got the Canon 1DC 4K DSLR camera, there was a very limited time for us to do our tests, view them and then start shooting. So if our tests feel a little incomplete or rushed, they were. After we saw the last test on a 4K projector at Light Iron Digital, we started shooting the next evening. The timeline was tight. However, I think the film is a perfect example of how powerful this 3.25 lb DSLR can be.
I wanted to make sure that the camera did not have native ISO’s like the Canon 5D did. We ran the same type of tests with a lens cap on to see the noise level at each ISO setting as we had done with the 5D. I have stretched the source material to show the noise and color treated it so you can see the volume. I want to thank the Post team at Bandito Brothers for putting this amazing noise comparison together. Lance, Jacob and Mike – you all rock. This really shows the difference.
Hurlbut Visuals | Read the Full Article
Ryan Connolly composites flame footage to avoid the obvious charges of arson and attempt at murder.
Adobe Prelude CS6 offers a variety of new media management features. Rich Harrington will show you the best ways to import footage, set it to automatically copy to a new dimension, and powerful new transcoding options.