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First Look at the 4K ENG style Panasonic HC-X1000

The Panasonic HC-X1000 is a small ENG-style camcorder with a 20x zoom lens that shoots cinematic 4K video as well as Ultra HD directly to file formats that are convenient for editing (MOV, MP4, etc.). The X1000 also captures several robust flavors of HD, including up to 200 Mbps for 1080p. The Panasonic HC-X1000 has built-in ND filters, three manual control rings (iris, focus, zoom), and an IR emitter for night videography.

Panasonic 4K

Martin Scorsese on the Films of Roberto Rossellini – Conversations Inside The Criterion Collection

Director Martin Scorsese looks at the importance of three films by Italian director Roberto Rossellini, all starring Rossellini’s then-wife Ingrid Bergman.

In the late 40s, Ingrid Bergman was the coolest, hottest, and most talented lady around Hollywood. She saw some Italian neo-realist films by Roberto Rossellini, wrote him a letter, starred in a number of his movies, and proceeded to have a scandalous affair and marriage with him. In each film, Bergman experiences some sort of deep existential crises in the midst of political and social upheaval. Since every major player who worked on those films is dead, Martin Scorsese (who was heavily influenced by the films) gives us the 4-1-1 on the three movies in this short doc and it’s fucking fascinating.

Scorses-on-Rossellini

Everything You Need to Know About Codecs

David Kong breaks down the basics of what codecs are in this first part of a two part series on codecs.

Here’s an overview of the topics covered:

- What a codec is – And how it differs from a container.
- Different types of codecs – And why I frequently use 4 different codecs on a single project.
- Bit Depth – What it means and why it matters.
- Chroma Subsampling – 4:4:4, 4:2:2, and 4:2:0, and when it becomes an issue.
- Spatial Compression and Blocking – One of the most common artefacts you see with normal work.
- Temporal Compression – Long-GOP codecs, inter-frame compression, and ALL-I codecs.
- Lossless vs. Lossy compression – How image compression differs from data compression.
- Bit Rate – How to calculate bit rates and the differences between kbps/kBps/Mbps/MBps.
- Raw – Briefly, the difference between Raw, compressed, and uncompressed video.

Via Philip Bloom.net

Film Editing Keyboards, Mouse, Controllers and more

Jonny Elwynn looks at some of the computer peripherals that can be useful for editors.

Keyboards

As a film editor you’ll be handling a mouse, keyboard, tablet or other more exotic controller all day every day, so it is a sound investment to make sure you’ve got the very best tools for the job. In this editing gear round up, I’ve gathered together the best options for every kind of interface tool with the editor’s need for speed, ergonomics and cost all factor in.

Keyboard shortcuts are the hallmark of a speedy editor. The more shortcuts you’ve got memorised the faster you will be. Learning all the shortcuts of course takes time, and if you’re new to a piece of software it will take even longer. That’s why keyboards like the ones from UK based Editor Keys (and their US sister company KB Covers) can be very useful.

If you’re a Mac user then you’ll know that keyboards come in two standard flavours – those with a digit keypad at the far right and those without. Personally I have the full length keypad at home where desk space is abundant and I prefer it for quickly tapping in time-codes etc. But I’ll definitely be picking up a wireless one without the keypad, as it’s smaller form factor makes it far easier to tuck into a ruck sack for freelancing gigs. Plus it will wirelessly connect with my iPad.

Keyboard Ergonomic Quick Tip – Keep the B key lined up with your belly button – especially if it has a keypad which will throw your alignment off if you place the entire keyboard in front of you symmetrically – so that your hands and wrists are not awkwardly placed.

Jonny Elwynn | Read the Full Article

3D Object Manipulation in a Single Photograph using Stock 3D Models:

Researchers at Carnegie Mellon University use stock models of 3D objects to manipulate objects in still photographs with an amazing amount of freedom.

3d-Model

We present an approach that allows users to perform 3D manipulations, such as rotations, translations, scaling, deformation, and 3D copy-paste, to objects in photographs. Our approach seamlessly reveals hidden parts of objects in photographs, and produces plausible shadows and shading. To reveal hidden parts, we use publicly available 3D models to complete missing geometry and appearance. As input, the user provides a photograph, together with a 3D model obtained using a word search on a public repository, and an object-free background filled in using in-painting techniques. Using our approach, users can create artistic compositions, manipulate vintage photographs, and even create animations.

Via DIY PHOTOGRPAHY

5 Tough Love Tips For Getting Your Film Into Film Festivals

To the uninitiated, the film festival circuit can be an intimidating thing. Here are 5 quick tips, maybe obvious ones, that will ease the process of festival submission.

Film Festival

As this article we just posted makes clear, it’s just about time for a heavy succession of major film festival submission dates. So we decided to ask a bunch of filmmakers and film festival programmers to wax on their experiences so we could tell you what to do and not do when it comes to trying to get your film into a festival. We know some of it sounds kind of obvious, but from what we’ve been told — there’s a whole lot of filmmakers who don’t abide it. So listen up:

1. Know what your film is, and where it belongs. Not every film is the right fit for SXSW, or Berlin, or Sundance. Yes, for a lucky few they end up in all three festivals (but clearly we don’t all have a “Boyhood” in the can), but for most your film — short or feature — is gonna be extremely lucky to come close to getting into one. So if you aren’t quite at a level of filmmaking that is going to be able to contend with the big guns (yet!), don’t waste your time and money and emotional well being getting in over your head. There’s dozens and dozens of festivals that while, yes, might not give you the level of exposure that Sundance might, they will give your work a showcase and give you an opportunity to grow as a filmmaker through the experience, giving you some internal notes to take forward into your next move.

2. Lower your expectations. Sort of in the same line of thinking, you need to not let the kind of rejection that can easily, easily come with submitting to film festivals get you down. Festivals like Sundance or SXSW often get well over 10,000 submissions — over half of them almost always shorts. They only show a small fraction. The odds are against you, and you have to accept that. Sometimes filmmakers make quite a few films that don’t end up getting shown anywhere, so expecting your going to get in somewhere big on your first try is just setting yourself up for stress, sweat and tears.

IndieWire | Read the Full Article

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