Run and Gun Style
1. Resolution and frame rate
2. AWB, if I have a few more seconds to spare I will see what the other WB settings look like on the screen
3. ISO – inside outside?
4. Picture Styles – normally shoot standard especially if I am running fast
5. Shutter Speed – easy to jog it 50th for 1080 and 125th for 720
6. then I check focus and hit record
Planned Shoot (Additional Items to Check)
1. Custom white balance
2. I will check the ‘blinky’s’ to see if I am over exposed anywhere (I am not too good at reading histograms yet)
3. Use an 18% gray card to double check the exposure
4. Double check the audio – disable the AGC on my t2i
Somethings I never check because I never change them
1. AF mode – quick focus
2. AF during movie – enable
3. Movie exposure – manual
4. Grid Display – grid 1
5. Highlight Tone Priority – disable
6. Always on Quick Focus using the center or top focus point,
7. Auto Lighting Optimizer on standard.
After eight films over a 10-year span, the epic adventure of Harry Potter and his circle of wizard friends will close the last chapter of this celebrated series with Harry Potter and the Deathly Hallows – Part 2.
Director David Yates returns to direct his fourth Harry Potter film and returns with his talented sound team including Re-recording mixers Stuart Hilliker and Mike Dawson, Supervising Music Editor Gerard McCann, Supervising Sound Editor James Mather, and Sound Designer Dom Gibbs.
VIA: Michael Coleman
This panel by Tribeca Film Institute at The New School addresses funding opportunities for both first-time and more experienced narrative and documentary filmmakers. Panelists discuss foundation grants, investors, individual donors, and nonprofit organizations as sources of pre-production, production, and post-production funding.
Panel members: * Tamir Muhammad, director of Tribeca All Access * Ryan Harrington, director of the Gucci Tribeca Documentary Fund * Adella Ladjevardi, grants manager at Cinereach * Yancey Strickler, co-founder of Kickstarter * Moderator: Ingrid Kopp, director of Shooting People
What does it take to be the Chief Creative Officer and director at Disney and Pixar (other than an endless supply of Hawaiian shirts)? This 25-minute documentary takes us through A Day in the Life of John Lasseter and gives us some insights into the most powerful person in the animation industry.
In April, YouTube started forcing alleged copyright infringers to watch Copyright School a short and silly video that attempts to explain copyright law. We are all for educating filmmakers on copyright law, but as the advocacy group Public Knowledge pointed out the video sort of skips over the fair use doctrine.
Public Knowledge challenged their members to create a response video that explains fair use, and how, in some cases, making use of copyrighted material without permission is perfectly legal. This video from Patrick McKay is the winning entry:
The original YouTube Copyright School video:
Olivia Speranza shows you how to simulate the film or cinematic look with a DSLR camera. Without getting too technical, a basic rule is to keep your shutter speed at about twice the framerate. Using ND filters helps you to control that setting when out in bright daylight.
Hitch by Felix Meyer, Pascal Monaco, Torsten Strer and others was their graduation project at the University of Applied Sciences and Arts in Hannover. It’s an animated book containing the recipes for Alfred Hitchcock’s classics. “The Ultimate Hitch Cookbook” is made for Hitchcock enthusiasts and every other couch potato out there.
We post lots of stuff about contracts, the law and other boring topics. I believe they are some of the most important articles on IQ. Although it may not be much of a surprise that they are the least read. So, in a effort to provide a spoonful of sugar to help the medicine go down we created this new series, “Something Educational & Something F*cking Stupid.”
A brief discussion of LLC vs LP for the independent film producer.
Something F*cking Stupid:
A fan blowing helium on a dog.
This video gives you a behind-the-scenes look at the craftsmanship and making of Leica lenses in the production facilities of Leica Camera AG.
Every Leica lens is hand-crafted and goes through meticulous manufacturing processes to uphold the quality and precision that Leica defines and customers have come to expect. In the age where technology almost inevitably means mass manufacturing, Leica products are still made with exacting precision by the hands of highly-trained technicians.
Working with a marketing department that doesn’t speak “film production” can be tough and mismatch in expectation can potentially lead to costly re-shoots, extra editing and a generally dissatisfied client. Her are six tips that can help you better manage those expectations and create a better working relationship.
When pitching or presenting a video production, it’s best to provide a compelling case backed by data, trends, case studies, references and examples. Show the client a sample of a finished campaign with a similar style, strategy, music track, etc.
Show them why you’re taking a specific direction and help them sense what the final product feels like. This also helps manage expectations on quality levels, scope of visuals, duration, etc. Examples are better than lengthy description. Show, don’t tell.
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