Audio Recorder Comparison – Digital Recorders vs Preamps

Robert from JuicedLink compares his noise to signal from his low noise pre-amplifier with other pre-amplifiers and digital recorders. Devices in this “sound off” are Zoom H4n, Tascam DT-100 MKII, Sound Devices 702, Beachtek DXA-SLR PRO, Edirol R44, Tascam DR-680 and the juicedLink Riggy Micro / Assist. This is made by JuicedLink so bear that in mind.

Via Olivia Tech

Michael Arndt: from Nothing to an Indie Hit with Little Miss Sunshine

In 2000, screenwriter Michael Arndt had no credits, no agents, no publishing history when he took a year off to write “a saleable script” that got him an agent and a deal and, five years after that, one of the big hits of 2006. A new book, Little Miss Sunshine: The Shooting Script, details the fascinating behind-the-scenes story of the indie runaway hit with an introduction, afterword, and enlightening scene notes from Arndt. Starring Greg Kinnear, Toni Collette, Steve Carell, Abigail Breslin, Paul Dano, and Alan Arkin, the film strikes a nerve with everyone who’s ever been awestruck by how their muddled families seem to make it after all. Michael Arndt offers a rare insider’s look and considered thoughts on one of the film’s most prevalent themes, success vs. failure.

Little Miss Sunshine: The Shooting Script from Cody’s Books and Cody’s Books on

Beyond the Matrix – an Interview with the Wachowskis

The New Yorker profiles Lana and Andy Wachowski of Matrix fame as they work on their latest film, “Cloud Atlas”

On the monitor screen, Tom Hanks’s eyes, in extreme closeup, flickered through a complicated sequence of emotions: hatred, fear, anger, doubt. “Cut!” Lana Wachowski shouted. The crew on Stage 9 at Babelsberg Studio, near Berlin, erupted in a din of professional efficacy, preparing for the next shot, while Hanks returned to his chair to sip coffee from an NPR cup. Lana and her brother, Andy, who are best known for writing and directing the “Matrix” trilogy, were shooting “Cloud Atlas,” an adaptation of David Mitchell’s 2004 best-selling novel of the same name.

The novel has six story lines, and the Wachowskis and their close friend the German director Tom Tykwer, with whom they’d written the script, had divided them up. They were shooting at Babelsberg, using the same actors, who shuttled between soundstages, but Tykwer had an unplanned day off. Halle Berry had broken her foot while on location in Mallorca and he needed to wait for her full recovery to shoot a chase scene. And now there was another problem: the actor Ralph Riach, who played a small but crucial role in one of the story lines that Tykwer was working on, had fallen ill and been hospitalized, and his state was progressively worsening. Tykwer had been on the phone with Riach, and the prognosis was, at best, unpredictable. Tykwer, with a bad cold and a large scarf around his neck which resembled a Renaissance millstone collar, had stopped by the Wachowskis’ set to discuss the situation.

The New Yorker | Read the Full Article

What the Indiana Jones Swordfight Scene was SUPPOSED to look like

Deleted shots and behind the scenes footage show what the stunt choreography was suppose to be before Harrison Ford got dysentery and convinced Speilberg to go with the iconic twist. First the shark in Jaws wouldn’t work, now this… imagine Steven Spielberg’s career if he had always gotten precisely what he wanted…

Purely Pacific Northwest

John Eklund, a photographer from Portland, Oregon, compiled a series of timelapses taken over a period of the great Pacific Northwest. Locations include: Mt. Shuksan, Crater Lake, Mt. Bachelor, Mount St. Helens, Oregon’s Badlands, Painted Hills, Cape Kiwanda, Mt. Hood, Lost lake, and Cannon Beach

Purely Pacific Northwest from John Eklund on Vimeo.

Trailer: A Liar’s Autobiography – the Untrue Story of Monty Python’s Graham Chapman

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.

Black Magic Cinema Camera now available in Micro Four Thirds

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 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

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