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Saturday, November 05, 2011

Quick Links

Lighting Basics: Going With What is Available | Shane Hurlbut | Blog
A great post from Shane about lighting, and how to light with minimal equipment:
The exciting thing about the Arri Alexa, F-3 and the new wave of DSLR’s is their high ISO range to minimum noise ratio. This has opened up a whole new way to light as a cinematographer. Whether it be daylight interior or exterior, dawn, dusk, night exterior or interiors the option now exist to use available light in new ways, as well as working with less.


Next Step: Calling All Screenwriters and Storytellers | Vincent Laforet | Blog
Vincent has issued a call for scripts and video/film ideas in three categories:
1. 30-60 second spots. Companies are regularly coming to me to do promotional videos for them – including ad agencies. These are all too often last minute – and rarely allow for the development of a good script. Having a few at the ready is a good thing.

2. Short films – no longer than 20 minutes in length.

3. Long form narrative films.


Stop-Motion Music Video Shot Over Two Years with 288,000 Jelly Beans
| Michael Zhang | PetaPixel
Amazing stop-motion, with a behind-the-scenes video. I'm partly amazed that anyone could wait that long for a video to be completed!



The post-recession model: fewer jobs in digital Hollywood | Brent Lang | Reuters
Shrinking job market as the world goes digital:
"It's funny, because the producers and studio executives I talk to don't bring up the recession," Patrick Goldstein, a columnist for the Los Angeles Times, told TheWrap. "I think technology is the thing that's having the huge and disruptive effect. It's the number one thing impacting all forms of entertainment."


Camera Companies Need to Be Willing to Cannibalize Themselves | Michael Zhang | PetaPixel
Why successful companies often fail: they don't want to compete against themselves:
Sony has also been causing quite a stir as of late in the photo world by releasing innovative technologies (e.g. pellicle mirror) and jumping into new markets early (e.g. mirrorless). Canon and Nikon, on the other hand, have been playing relatively safe. For example, even though Nikon jumped into the mirrorless camera game, the small sensors in the V1 and J1 indicate that the company isn’t willing to let its mirrorless cameras lure potential DSLR customers.


Canon C300 & RED Scarlet-X News


Q: How Do the 'Ready to Shoot' Prices of the Canon EOS C300 and RED SCARLET-X Compare? | NoFilmSchool
Interesting piece suggesting that the prices may be almost the same for the cameras once kitted out, assuming: the retail price of the Canon comes down, and you have to buy the RED monitor and a couple of other things...
The RED SCARLET-X lists for $9,750 and that is direct from RED: no discounts. However, that is a “brain only” price (though it comes with a SSD recording module, Canon lens mount, and AC adapter). After December 31st, in fact, the RED’s prices will go up. But if you include the prices of the things you’ll need to shoot in each cameras’ most basic configuration, many all of these things are included with the Canon but not with the RED. (A couple of them are not included with the Canon either, where noted).


RED SCARLET-X vs. Canon EOS C300 | Eike Busse | CineGearBlog
A feature comparison chart fot the Scarlet-X and C300.



Canon Cinema EOS C300 Hollywood Expo | Jared Abrams | Vimeo
Video from the gear expo at the Canon C300 event. Companies include Zacuto, Redrock Micro, Arri, Genus and Letus.



Canon EOS C300 Camera Clad in Nothing but Genus Gear | Cinescopophilia
Pictures of the C300 in Genus rigs.




Canon C300 - Recoil | Zacuto | YouTube
Zactuo got to play with the Canon C300 and demonstrate it on one of their rigs. They have a page up dedicated to the camera: Canon EOS C300

Friday, November 04, 2011

Look What Just Arrived: Sony NEX-VG20


Well, that's a big surprise! Out of the blue, the Sony NEX-VG20 arrived today. Given all the excitement about the Canon C300 and Scarlet-X, it's an interesting day for it to choose to arrive! Though obviously, this camera isn't any competition for those cameras.

B&H has the body only model in stock, and the body & lens model is listed available for pre-order, though this one actually came from them.

Random Thoughts on the Canon C300 and RED Scarlet-X


  1. No matter what it is, it’s always exciting when new cameras are announced that offer new features and new technologies - even if the cameras are so expensive that they are beyond my reach. That's because those features and technologies eventually find their way down into more affordable cameras. I think that’s my first reaction to the Canon and RED announcements, because I know I’m not going to be buying either of them.

  2. The owners of NEX-FS100’s and AG-AF100’s are breathing a sigh of relief today! Clearly this is going after RED, Arri and Sony’s high-end offerings, not those cameras.

  3. How do these new cameras compare to the Sony PMW-F3? It’s in between the C300 and Scarlet-X price wise. Someone suggested that Sony should give away the S-LOG upgrade for the PMW-F3 (rather than charge $3.5K) to help it compete.

  4. I’d been saying that Canon has a habit of releasing video cameras a little later, a little more feature packed, and a little more expensive than Sony. I just didn’t think it was going to be that expensive!

  5. Now that the RED cameras are under $10,000, I’m really going to have to learn more about them. Soon, I might be able to afford one!

  6. The “Now anyone can make a movie” line that was pushed at the Canon event seemed a bit weird given the $20,000 price tag.

  7. The three new cinema prime lenses from Canon look interesting. At $6,800 each they make the Zeiss CP.2 lenses look like bargain lenses. It will be interesting to see how they compare image-quality wise.

  8. Now anyone with $40,400 can make a movie.

  9. A month ago a friend asked me whether he should buy the Sony NEX-FS100 or the Panasonic AG-AF100 and I told him he might want to wait until the Canon announcement. I figured he’d be kicking himself if they came out with a sub $8,000 camera. Guess it was just as well he didn’t listen to me. Even the Scarlet-X is outside his budget.

  10. I didn’t think the C300 would look like a Scarlet with the edges smoothed.

  11. Even on their bad days, Apple does better rollouts.

  12. “Only manual modes on the Canon” - this really isn’t the camera for me!

  13. And there’s a Cinema DSLR coming sometime? Oh great! So it’s back to waiting for the next great camera announcement!

  14. Don’t forget; you can always rent cameras!



Adobe

No 16 BOSFCPUG Meeting: Inside the Cutting Room: Sam O’Steen and the Editing of “The Graduate"

On November 16th, please join BOSFCPUG and renowned author BOBBIE O'STEEN ("Cut to the Chase," "The Invisible Cut") for an in-depth discussion of the editing on Mike Nichols’ THE GRADUATE. Bobbie - who was married to and worked with the movie’s legendary film editor SAM O'STEEN - takes the audience through each stage of the film, from novel to preview.
DATE: November 16, 2011
TIMES: 7PM-9:30PM (doors open at 6:30PM)
VENUE: Bright Family Screening Room
The Paramount Center
559 Washington St
Boston, MA 02111
You want to register (it's free) BOSFCPUG: Inside the Cutting Room

Canon C300 Updates


3 Years later… “Mobius” and the Canon C300 / C300PL | Vincent Laforet | Blog
Vincent looks back on the last three years (and other divisions of three) and links to the video he shot with the Canon C300, as well as a behind-the-scenes video of the shoot. He also offers some thoughts on the camera:
Ergo this is in effect a 4K sensor creating a 1080p image. This results in what I would say is easily one of the best digital cinema sensors on the market - at least that I have worked with (I have worked with all of the digital cinema cameras released within the past 2-3 years.*) The camera’s only competition right now are the Arri Alexa and Red Epic – although each of the 3 sensors and cameras have distinct advantages over one another - there is no perfect camera.

The Canon C300 produces an INCREDIBLY sharp image at 1080p on a 60 foot screen. There is ZERO aliasing or moire – goodbye forever!!!


Canon unveils Cinema EOS C300 interchangeable-lens video camera | DPReview
Available in in two models, the EOS C300 comes with an EF mount, while the EOS C300 PL features a PL mount. Both models feature an 8.3MP Super 35mm-equivalent CMOS sensor developed specially for the system, a modular design and a new range of dedicated video lenses. The C300 is scheduled to be available in late January 2012 for an estimated list price of $20,000. The C300 PL is scheduled to be available in late March 2012, also for an estimated list price of $20,000.




ultraCage | Redrock Mico
Someone tweeted that the rig makers will be happy with the shape of the C300; they'll still sell lots of rigs! Redrock even announced a new one yesterday:
The new line of Canon Digital Cinema Cameras, starting with the C300, represents an 'ultimate refinement' of the digital cinema camera. Redrock has recognized this pivotal moment, that these new cameras require support systems that are essential to realize the full potential of these cameras. Redrock has worked with Canon in lock-step to evolve the concept of camera support systems and rigs for this exciting new generation of cameras.


SEE VIDEO FROM CANON’S NEW EOS C300 | Scott Macaulay | Filmmaker Magazine
Canon CEO Fujio Mitarai said that the company wanted to “leave no story untold” as he unveiled a camera with a small form factor, an 8.3MP 2160 x 3840 Super 35 CMOS sensor with 4K resolution, and new lenses that resolve to this higher resolution. Martin Scorsese was on hand at the event to hail digital cinema and extoll the promise of the cameras.


Canon launches EOS C300... for Cinema | Jose Antunes | PhotoZZ
The Canon EOS C300/C300 PL’s newly developed Super 35 mm-equivalent CMOS sensor incorporates approximately 8.29 million effective pixels and has a pixel size that is larger than that for conventional professional camcorders, enabling greater light-gathering capabilities for enhanced sensitivity and reduced noise. The sensor reads Full HD (1920 x 1080 pixels) video signals for each of the three RGB primary colors, decreasing the incidence of moirĂ© while realizing high resolution with 1,000 horizontal TV lines.


Canon launches C300 - a 'grown up' Canon 5D | Televisual
With an expected price of €12,000, the C300 will be available from the end of January 2012 and is expected to compete with the Arri Alexa, Red Scarlet and Sony F3.

The C300 is pitched as relatively affordable, compact, flexible but high-end camera - a grown up version of Canon's hugely popular EOS 5D Mark II which launched in 2008.




RED's Scarlet-X

Canon wasn't the only one to announce an important camera, RED also made a big splash with the Scarlet-X.

RED's SCARLET-X Camera Shoots 5K Stills and 4K Motion, Ships December 1st for $10K | No Film School
The SCARLET X is not the low-cost “3K for $3K” SCARLET announced years ago, but is instead the interchangeable lens camera formerly known as the EPIC-S, and it looks like an amazing deal. It is very, very close to being the same Camera as the $28,000 EPIC-X — it’s the same size and weight, has the same large sensor, takes the same accessories, and maxes out at the same 5K resolution — except the SCARLET-X starts at under $10K


RED Scarlet X 4K camera will sell for about $10k | Wrik Sen | Born Rich
At a time when technology companies compete with one another to give their target consumers the best value for money products, with as many flexibilities possible, RED Scarlet X 4K makes quite a statement with robust design. Known as the ‘epic’s little sister’, this camera matches to the standards of picture and video capturing in every possible way, with the higher-end variety available in the market.


The Scarlet X camera from RED, at last | Vincent Rice | Gizmag
It would be hard to imagine a greater contrast between today's launch by Canon of its EOS C300 digital cinema camera and the launch of RED's long-awaited Scarlet. Canon's event was huge and long-winded with a string of cinematography heavyweights on stage. At the RED gathering half an hour later, an ad hoc bunch of the faithful turned up at RED studios, ostensibly just to watch the same web page update as the rest of the world. Alas it didn't quite work out like that.


RED Scarlet X 4K | Hungry Eye News
RED are taking the fight to Canon by announcing its new Scarlet-X video camera on the same day that Canon revealed its EOS C300 in Hollywood yesterday. The Scarlet-X has an S35 sensor and the whole camera is essentially “Epic’s little sister,” with similar functionality.
It’s also capable of creating 5k stills and 4K video at 25fps. Reducing down the resolution to 3K enabled 48fps, 2K gets you 60fps, and at 1K it can handle a huge 120fps. It can also write data at 50mb per second using RED’s proprietary “Redcode RAW” format to an SSD via the included slot.


RED’s Scarlet Gets Official: 4K For Under $10K | Devin Coldewey | Tech Crunch
For more than three years, upstart camera maker RED has been teasing the Scarlet, a compact camera in the same class as their more powerful, but bulkier, RED One and Epic cameras. We actually saw one at CES this year, but they’ve completely redone the design and capabilities. They were going to publish all this information on their website, but they’re apparently under attack so we’re doing this live.


RED Scarlet X 4K camera ready to take on Canon C300, ships November 17th for under $10k | Dieter Bohn | The Verge
The Scarlet-X will retail for $9750, according to @fxguidelive, with a "full kit" chiming in at just under $14k. It's a bummer RED hasn't been able keep its website up to make a proper announcement. Hopefully the November 17th ship date for the PL mount version and the December 1st date for the Canon mount both go more smoothly. We've embedded RED's teaser trailer below, along with some pictures of the Scarlet-X.




Thursday, November 03, 2011

Coming Attractions: New Canon Digital SLR Camera Under Development


[Canon Press Release]

HOLLYWOOD, California, November 3, 2011/TOKYO, November 4, 2011—Canon Inc. today announced that the company is developing a new-concept EOS-series digital single-lens reflex (SLR) camera. Incorporating an enhanced version of the video-capture capability offered in the current EOS-series lineup, the new camera will be ideally suited for cinematographic and other digital high-resolution production applications. The model will be equipped with a 35 mm full-frame CMOS sensor and, enabling the recording of 4K video* (at a frame rate of 24P, with Motion-JPEG compression), will make possible the type of exceptional image quality and sublime imaging expression to be expected from the next generation of “EOS Movies.”

The announcement coincides with the launch of the Cinema EOS System, marking Canon’s full-fledged entry into the digital high-resolution production industry. The new professional digital cinematography system spans the lens, digital cinema camera and digital SLR camera product categories.

Further details regarding the new EOS digital SLR camera currently under development, including the product name, specifications and scheduled launch date, have yet to be decided.

EOS Movie: A New Industry Standard
Movie recording has been a standard feature in all newly introduced Canon EOS-series digital SLR cameras since the launch of the EOS 5D Mark II in November 2008. Coupled with the diverse array of lenses in Canon’s current interchangeable EF lens lineup, this feature has heralded rich visual expressive possibilities, delivering such characteristics as beautiful image blur and low noise while also garnering kudos for the mobility and maneuverability made possible through the cameras’ compact and lightweight body designs.

The impressive images created by the combination of Canon EOS digital SLR cameras and EF lenses, known as “EOS Movies,” have already earned their screen credentials on the sets of multiple productions, from television commercials and artist promotion videos to episodic dramas and even major motion pictures.

A STAR IS BORN: CANON LAUNCHES NEW DIGITAL CINEMA CAMERA FOR HIGH-RESOLUTION MOTION PICTURE PRODUCTION


[Canon Press Release]

HOLLYWOOD, California, November 3, 2011/TOKYO, November 4, 2011—Canon Inc. and Canon U.S.A., Inc. today raised the curtain on an all-new interchangeable-lens digital cinema camera that combines exceptional imaging performance with outstanding mobility and expandability to meet the demanding production needs of today’s motion picture industry. The camera, which features a newly developed Super 35 mm-equivalent approximately 8.29-megapixel CMOS sensor, will be available in two models: the EOS C300 Digital Cinema Camera*, equipped with an EF lens mount for compatibility with Canon’s current diverse lineup of interchangeable EF lenses for EOS single-lens reflex (SLR) cameras and new EF Cinema Lens lineup; and the EOS C300 PL Digital Cinema Camera*, with a PL lens mount for use with industry-standard PL lenses.

The introduction of the EOS C300/C300 PL coincides with the launch of the Cinema EOS System, marking Canon’s full-fledged entry into the digital high-resolution production industry. The new professional digital cinematography system spans the lens, digital cinema camera and digital SLR camera product categories.

Star-Studded Supporting Cast
Equipped with an EF lens mount, the EOS C300 is supported by an all-star cast of high-performance EF lenses, not only the wide array of interchangeable EF lenses for EOS SLR cameras that have earned the trust and respect of photographers around the world, but also the EF cinema lenses in the newly announced Cinema EOS System. When outfitted with a Canon EF lens, the C300’s peripheral illumination correction automatically corrects for vignetting in accordance with each lens’s optical characteristics, and enables iris control from the camera. Canon EF lenses also enable the recording of such metadata as the name of the lens used, aperture setting and shutter speed.[i]

Show-Stopping High-Resolution Full-HD Performance
The Canon EOS C300/C300 PL’s newly developed Super 35 mm-equivalent CMOS sensor incorporates approximately 8.29 million effective pixels and has a pixel size that is larger than that for conventional professional camcorders, enabling greater light-gathering capabilities for enhanced sensitivity and reduced noise. The sensor reads Full HD (1920 x 1080 pixels) video signals for each of the three RGB primary colors, decreasing the incidence of moirĂ© while realizing high resolution with 1,000 horizontal TV lines.

Supported by a heightened signal read-out speed, the CMOS sensor reduces rolling shutter skews, a phenomenon prevalent with CMOS sensors in which fast-moving subjects may appear diagonally distorted. Additionally, the powerful combination of the sensor with Canon’s high-performance DIGIC DV III image processor facilitates high-precision gamma processing and smooth gradation expression.

In addition to MPEG-2 Full HD (MPEG2 422@HL compliant) compression, the EOS C300/C300 PL employs 4:2:2 color sampling for high-resolution performance that minimizes the appearance of “jaggies” at chroma edges. Additionally, with a maximum recording rate of 50 Mbps, the camera supports the recording of high-quality video.

The camera’s video and audio recording file format adopts the industry-standard MXF (Material eXchange Format), an open source file format ideally suited for non-linear editing systems. Recording to versatile, readily available CF cards, the EOS C300/C300 PL realizes high cost-performance and, equipped with two CF card slots, makes possible the simultaneous recording of video data to two CF cards.

Ready for Action
With a compact body design measuring 5.2 (w) x 7.0 (h) x 6.7 (d) inches, the Canon EOS C300/C300 PL delivers exceptional maneuverability, enabling shooting from vantage points all but inaccessible to large cinema cameras, such as close to the ground for high-impact low-angle shots, and alongside walls. In accordance with on-location shooting needs, the camera can be outfitted with a handle, grip, thumb rest and monitor unit, and offers an array of industry-standard terminals, including HD/SD-SDI video output for the external recording of high-quality video content. When using a WFT-E6B wireless file transmitter for EOS digital SLR cameras (sold separately), the EOS C300/C300 PL can be controlled remotely by means of such common devices as smartphones or tablet PCs.

The camera is equipped with four start/stop buttons positioned at various locations to satisfy any preferred camera-holding style, and can be outfitted with a variety of third-party accessories, including matte boxes, follow focuses and external video and audio recorders. The unit also achieves seamless integration with third-party editing systems and provides added peace of mind through its dust-proof, drip-proof construction and built-in cooling system.

The new camera allows users to adjust image quality to match that of professional camcorders and EOS-series digital SLR cameras, and offers Canon Log Gamma, enabling flat image quality with subdued contrast and sharpness for maximum freedom in post-production editing and processing. In addition to frame rates of 59.41i, 50.00i, 29.97P, 25.00P and 23.98P, the EOS C300/C300 PL features a 24.00p mode, matching the 24 frame-per-second frame rate of film cameras for high compatibility with common film-production workflows.

Other features include fast-motion shooting, achieved by capturing fewer frames per second to create action up to 60x normal speed, and slow-motion down to 1/2.5x[ii] made possible by capturing more frames per second. Frame rates between 1 and 60 frames per second (fps) [iii] can be adjusted in increments of 1 fps. Additionally, a selection of Custom Pictures lets users freely adjust image quality for greater control over how content looks.

Pricing and availability
The Canon EOS C300 (EF mount) digital cinema camera is scheduled to be available in late January 2012 for an estimated list price of $20,000. The Canon EOS C300 PL (PL mount) digital cinema camera is scheduled to be available in late March 2012 for an estimated list price of $20,000.

[i] Compatible features differ depending on the EF Cinema Lens used.
[ii] 1/2.5x possible only when recording in 720p mode.
[iii] When 59.41i frame rate is selected.

Canon casts EF Cinema Lenses in starring role for new Cinema EOS System


[Canon Press Release]

New Lens Series Debuts with Seven Models and more in the wings


HOLLYWOOD, California, November 3, 2011/TOKYO, November 4, 2011— Canon Inc. and Canon U.S.A., Inc. today announced the introduction of seven new 4K EF Cinema Lenses, an all-new series of video cinematography lenses that, in addition to the company’s current lineup of interchangeable EF lenses for EOS single-lens reflex (SLR) cameras, form the core of Canon’s new Cinema EOS System. The launch of the Cinema EOS System marks Canon’s full-fledged entry into the digital high-resolution production industry. The new professional digital cinematography system spans the lens, digital cinema camera and digital SLR camera product categories.

Canon’s new EF Cinema Lens lineup includes four top-end zoom lenses covering a zoom range from 14.5 mm to 300 mm—two models each for EF and PL lens mounts—and three single-focal-length lenses for EF mounts. All seven new lenses are capable of delivering exceptional 4K optical performance and offer compatibility with the Super 35 mm-equivalent image format. The three single-focal-length EF lenses can be used with cameras equipped with 35 mm full-frame sensors.

The seven new lenses represent the starting cast of Canon’s new EF Cinema Lens series, a star-studded lineup that will continue to grow in the future with the introduction of new A-list zoom and fixed-focal-length lenses.

Wide-Angle and Telephoto Cinema Zoom Lenses for EF and PL Mounts
  • CN-E14.5–60mm T2.6 L S / CN-E14.5–60mm T2.6 L SP *
  • CN-E30–300mm T2.95–3.7 L S / CN-E30–300mm T2.95–3.7 L SP *

The four new Canon zoom cinema lenses comprise the CN-E14.5–60mm T2.6 L S (for EF mounts) and CN-E14.5–60mm T2.6 L SP (for PL mounts) wide-angle cinema zoom lenses, and the CN-E30–300mm T2.95–3.7 L S (for EF mounts) and CN-E30–300mm T2.95–3.7 L SP (for PL mounts) telephoto cinema zoom lenses. Each lens supports 4K (4096 x 2160 pixels) resolution, which delivers a pixel count four times that of Full HD (1920 x 1080 pixels), and offers compatibility with industry-standard Super 35 mm-equivalent cameras as well as APS-C cameras.[i]

Employing anomalous dispersion glass, effective in eliminating chromatic aberration, and large-diameter aspherical lenses, the zoom lenses achieve high-resolution imaging from the center of the frame to the outer edges. Each lens is equipped with a newly designed 11-blade aperture diaphragm for soft, attractive blur characteristics, making them ideally suited for cinematographic applications.

The focal length range of 14.5–300 mm covered by the new zoom lenses represents the most frequently used focal lengths in theatrical motion picture production, a range that often requires a combination of three or more separate zoom lenses. Canon’s new wide-angle and telephoto cinema zoom lenses, however, offer a wider angle and powerful zooming to provide complete coverage across this range with just two lenses. The new wide-angle cinema zoom lenses will offer the industry’s widest angle of view among 35 mm digital cinema lenses with a wide-angle-end focal length of 14.5 mm.[ii]

Zoom, focus and iris markings are all engraved on angled surfaces for improved readability from behind the camera. With a focus rotation angle of approximately 300 degrees and a zoom rotation angle of approximately 160 degrees, the lenses facilitate precise focusing performance while making possible smooth and subtle zoom operation.

The new top-end cinema zoom lens lineup can be used with standard manual and electronic movie industry accessories, as well as matte boxes. Featuring a unified front lens diameter and uniform gear positions, the lenses do away with the need to adjust or reposition accessory gear when switching between other lenses in the series.

Pricing and availability
Both the Canon CN-E14.5–60mm T2.6 L S (EF mount) lens and the Canon CN-E14.5–60mm T2.6 L SP (PL mount) lens are scheduled for late January 2012 availability for an estimated list price of $45,000 each. The Canon CN-E30–300mm T2.95–3.7 L S (EF mount) and Canon CN-E30–300mm T2.95–3.7 L SP (PL mount) lens are scheduled for late March 2012 availability for an estimated list price of $47,000 each.

Single-Focal-Length Cinema Lenses for EF Mounts
  • CN-E24mm T1.5 L F / CN-E50mm T1.3 L F / CN-E85mm T1.3 L F *

Like their wide-angle and telephoto cinema zoom lens co-stars, Canon’s new CN-E24mm T1.5 L F, CN-E50mm T1.3 L F and CN-E85mm T1.3 L F cinema lenses deliver 4K optical performance. The three lenses, designed for use with EF mounts, are compatible with not only industry-standard Super 35 mm-equivalent cameras, but also 35 mm full-frame, APS-H and APS-C sensor sizes. The trio incorporates anomalous dispersion glass and large-diameter aspherical lenses for high resolution imaging throughout the frame, and features a newly designed 11-blade aperture diaphragm for gentle, attractive blurring.

With focus and iris markings that are easily visible from behind the camera, Canon’s three new fixed-focal-length lenses support convenient film-style operation and, offering a focus rotation angle of approximately 300 degrees, facilitate precise focusing performance.

The CN-E24mm T1.5 L F, CN-E50mm T1.3 L F and CN-E85mm T1.3 L F support standard manual and electronic industry accessories and matte boxes, and have a unified front lens diameter and uniform gear positions, eliminating the need for adjustments when switching lenses.

Pricing and availability
The Canon CN-E24mm T1.5 L F (EF mount) and CN-E50mm T1.3 L F (EF mount) lenses are scheduled to be available in late July 2012. The CN-E85mm T1.3 L F (EF mount) lens is scheduled to be available in late August. The Canon CN-E24mm T1.5 L F (EF mount) lens will have an estimated list price of $6,800. The Canon CN-E50mm T1.3 L F (EF mount) lens will have an estimated list price of $6,800. The Canon CN-E85mm T1.3 L F (EF mount) lens will have an estimated list price of $6,800.

[i] Not compatible with 35mm full-frame or APS-H camera sensors.
[ii] As of November 3, 2011, according to published competitive data.

Lights! Camera! Action! Canon Makes Hollywood Debut with Launch of Cinema EOS System

[Canon Press Release]

Company’s All-New Cinema Lens Lineup, Cinema Cameras and Digital SLR Cameras to Leave No Story Untold

HOLLYWOOD, California, November 3, 2011/TOKYO, November 4, 2011—Canon Inc. today announced Canon’s full-fledged entry into the motion picture production industry with the launch of the Cinema EOS System. Canon’s new professional digital cinematography system spans the lens, digital cinema camera and digital SLR camera product categories.

The Cinema EOS System targets a new area of imaging expression for Canon, building on the company’s 74-year history of innovation and expertise in the field of optical and imaging technology. The company has already earned accolades in the entertainment industry for the EOS 5D Mark II digital single-lens reflex (SLR) camera, launched in November 2008, which has been used in the production of blockbuster Hollywood motion pictures and hit television programs.

Canon’s new Cinema EOS System, which offers compatibility with Canon’s wide array of high-performance EF lenses, provides cinematographers with a range of unprecedented creative possibilities to ensure that no story is left untold.

“As a leading company in digital imaging, Canon’s debut in the film and TV production industry provides a tremendous opportunity to enter into a thriving market,” said Fujio Mitarai, Chairman and CEO, Canon Inc. “Reflecting upon the achievements that Canon EOS Digital SLRs have had in the industry thus far, we are confident the new Cinema EOS series products will bring that success to a whole new level.”

With the debut of the Cinema EOS System, Canon today introduced seven new 4K EF Cinema Lenses—four zoom lenses and three single-focal-length models—which complement the company’s current diverse lineup of interchangeable EF lenses for EOS SLR cameras. The company also announced the launch of the EOS C300/C300 PL interchangeable-lens digital cinema camera, equipped with a Super 35-mm-equivalent CMOS sensor, and a new digital SLR camera currently under development that features a 35 mm full-frame CMOS sensor supporting the recording of 4K video.

4K EF Cinema Lens Lineup
Canon’s Cinema EOS System makes its Hollywood debut with an all-star cast featuring seven new 4K EF Cinema Lens models: four zoom lenses covering a wide zoom range from 14.5 mm to 300 mm—two models each for EF and PL lens mounts—and three single-focal-length lenses for EF mounts. All seven new lenses deliver exceptional 4K (4096 x 2160 pixels) optical performance and offer compatibility with Super 35 mm-equivalent sensors. Additionally, the three single-focal-length lenses can be used with cameras equipped with 35 mm full-frame sensors. (See accompanying EF Cinema Lens press release for additional information.)

EOS C300/C300 PL Interchangeable-Lens Digital Cinema Camera
The Canon EOS C300/C300 PL is an all new digital cinema camera available in two models: the EOS C300, equipped with an EF lens mount for compatibility with the wide array of lenses that make up Canon’s current interchangeable EF lens lineup; and the EOS C300 PL, offering a PL lens mount for use with industry-standard PL lenses. The camera features a Super 35 mm-equivalent approximately 8.29-megapixel CMOS sensor ideally suited for digital cinematography. (See accompanying EOS C300/C300 PL press release.)

New Digital SLR Camera with 4K Movie Function (Under Development)
Equipped with a 35 mm full-frame CMOS sensor and supporting the recording of 4K video* (at a frame rate of 24P, with Motion-JPEG compression), the next-generation digital SLR camera currently under development will enable exceptional image quality for the creation of innovative and expressive images. Additional details, including the product name, specifications and scheduled launch date, have yet to be decided. (See accompanying digital SLR camera press release.)

* Cropped to APS-H-equivalent size (dimensions measuring approximately 80% vertically and horizontally of a 35 mm full-frame sensor) when recording in 4K.

Cinema EOS System: Product Overview

EF Cinema Lenses
  • CN-E14.5–60mm T2.6 L S EF mount
  • CN-E14.5–60mm T2.6 L SP PL mount
  • CN-E30–300mm T2.95–3.7 L S EF mount
  • CN-E30–300mm T2.95–3.7 L SP PL mount
  • CN-E24mm T1.5 L F EF mount
  • CN-E50mm T1.3 L F EF mount
  • CN-E85mm T1.3 L F EF mount


Digital Cinema Cameras
  • EOS C300 EF mount
  • EOS C300 PL PL mount


Digital SLR Camera (under development)
  • TBD EF mount

For more information and to view online demonstration footage of the new products please visit: www.usa.canon.com/cinemaeos

Avid Announces Media Composer 6 & other updates

Avid has announced updates to their three flagship products: Media Composer version 6, NewsCutter version 10 and Symphony version 6:
Media Composer version 6, Symphony version 6 and NewsCutter version 10 are rebuilt from the core on an entirely new open, 64-bit architecture that raises the bar for performance, flexibility and productivity. With this version, Avid is also introducing a sleek, new User Interface—designed to speed workflows while simultaneously preserving the same functionality that so many professionals have built their careers on. In addition, these systems include support for third-party hardware, AVCHD and Red Epic support with Avid Media Access (AMA), an Avid DNxHD 444 codec, and support for Avid Artist Color.
Media Composer 6 will be available November 15th.

Avid Press Release: Avid Introduces Media Composer 6—The Industry’s Leading Editing System Raises the Bar with Openness and 64-bit Performance

Avid will be hosting a webcast with a live Q&A to discuss the new software at 1:00 p.m. Eastern Time today. To access the webcast visit: http://event.on24.com/r.htm?e=373256&s=1&k=940A8514C0E3368ACF5A8D96DA1C8506


Blackmagic announces support for Avid Media Composer 6:
Blackmagic Design today announced Desktop Video 9.0, a major new software update with advanced capture and playback for the Avid® Media Composer® 6 family of software including Avid Symphony® and Avid NewsCutter™, for both Windows 7™ and Mac OS X™.

Desktop Video 9.0 is available for download now and free of charge for all Blackmagic Design customers. This update includes support for all current DeckLink, Multibridge, Intensity and UltraStudio models.
Blackmagic Press Release: Blackmagic Design Announces Avid Media Composer 6 Support



Avid intros 64-bit version of Media Composer | Randi Altman | Post Magazine
Information from a conference call with Avid's Angus Mackay:
Version 6 is actually the sixth release of Media Composer in three years, points out Mackay, adding that this update is a complete rebuild from the app’s core, designed with openness in mind and with huge increases in productivity thanks to its 64-bit design. Some advantages of this include access to greater amounts of RAM and improved performance, playback, and responsiveness, as well as increases in the speed in which users can play numerous formats.


AJA: AJA Supports Avid Media Composer 6 with KONA, Io XT, and Io Express Video I/O Products

Quick Links : The Not-Yet-Announced-Canon Edition

Walter Murch at the Boston SuperMeet | FCPUGSuperMeet | YouTube
The whole of Walter Murch's speech at last weeks Boston SuperMeet has now been posted at YouTube.



New Lenses Imminent? [CR1] | Canon Rumors
Others have hinted that Canon would release some special prime lenses with the new video camera(s) they are announcing today; could the rumor Canon Rumors has heard of new "prosumer" primes 35, 85, 50 be the ones?



Canon Live Blog 1 | Planet 5D
Mitch from Planet 5D will be live-blogging tonights event.



Canon Live Blog 2 | Engadget
Engadget will be live blogging from 6PM ET!



Canon Line Blog 3 (& RED Live Blog) | FXGuide
FXGuide will be live blogging both events:
  • 3:00PM PST/10:00PM GST : Canon Event
  • 6:00PM PST/1:00AM GST : RED Event


November 3 Will Not Affect Me In the Least | Ron Dawson | Dare Dreamer
Ron says that whatever Canon announces, he doesn't care:
I don’t care what the heck-fire Canon releases today. I guarantee you it will not change the world. And it will not make you a better filmmaker (or photographer assuming it’s some kind of combo). And I bet you TWO million dollars than in six months, some other camera manufacturer will announce a camera that will make this announcement look hum drum.
I'd agree with him, except that there's a strong case that Canon already made a significant change in the film and video world with the 5D Mark II. Can they do it again?




SanDisk Price Drops

B&H send out an announcement a couple of days ago that there were major price drops on SanDisk Products. Unfortunately, I have no idea how much those drops are, as they only list the current prices!:

Canon Announcement This Evening

The Canon announcement isn't until 6pm (EDT) so unless someone leaks accidentally, there won't be any news until then.

Canon Rumors says it's the EOS 300C....Canon EOS 300C? [CR1]


[UPDATE] Corrected time to 6pm. The RED announcement seems to be happening at 9PM.

Wednesday, November 02, 2011

Singular Software announces Beta program for Presto for Premiere Pro

Singular Software, has announced the public beta of Singular Software Presto for OS X (v2.0) with support for Adobe Premiere Pro. Presto uses computer tracking and automation technology to synchronize footage of a presenter, presentation slides, and a video taken of the screen – creating a polished video of the presentation in just minutes. It's already available for Sony Vegas and Apple Final Cut Pro.

The public beta of Presto for OS X (v2.0) offers new features: support for importing projects from Premiere Pro, the ability to render video directly, and full control over audio mixing. The beta can be downloaded from the Singular site: http://www.singularsoftware.com/presto.html.

Quick Links

Adobe Premiere Pro CS5.5 (5.5.2) update: Maximus functionality and bug fixes
| Adobe | Blog
I just ordered the Adobe Creative Suite and should get it Friday. And coincidentally, Adobe has just released a bug fix for Premiere Pro, which includes fixes for:
  • Eyedroppers did not work on Mac OSX v10.7 (Lion).
  • The Timecode effect overlay was not rendered.
  • Closed captions were rendered in the wrong place, sometimes entirely offscreen.
  • Enabling the display of closed captions would cause error messages to appear.
  • Premiere Pro would crash or exhibit other instability when trimming with third-party I/O hardware (such as Matrox and AJA hardware) installed.


Pearl Jam 'Twenty' | Blair Jackson | Mix
An interview with the Eric R. Fischer, the primary mixer for the documentary Pearl Jam 'Twenty'.
Though he owns a considerable amount of traditional outboard gear, for this project, which was mixed entirely in the box, he used only plug-ins. For example, “I’ve started using Sonnox plug-ins, especially the Inflator plug-in on the older 2-track stuff, and it worked great,” he says. “It’s kind of like a ‘loudness’ button on a stereo. It adds some upper-end harmonic stuff and it heightens the bottom end. It was a big help.


Does culture really want to be free? | Scott Timberg | Salon
If you're a creative, you have to read this interview with journalist Robert Levine, author of the book “Free Ride.” The book is subtitled “How Digital Parasites Are Destroying the Culture Business and How the Culture Business Can Fight Back," and Levine has a very clear perspective on what technology has wrought:
I was on a panel a couple of weeks ago and this guy from Creative Commons said: “You should concentrate on art; you shouldn’t worry so much about these contracts.” That’s exactly what any artist should never do. The record company guy does not want to make you money; he wants to make him money. Same with your concert promoter. Same with Google. They are not on your side. They’re on their side. I don’t think that’s a bad thing, because Google’s greed and self-interest has led to the creation of a valuable company, and many jobs, and some really remarkable technology, but it’s the government’s job to make sure they don’t trample the rights of other people.


Shooting for Twixtor | Chris Weatherly | Blog
A very short blog post that I want to highlite because it makes a great point about testing things out before you go shoot.



Cisco Predicts That 90% Of All Internet Traffic Will Be Video In The Next Three Years | Megan O'Neill | Social Times
I'm not sure this is really that shocking given that video takes up so much more space compared to text, and even pictures...maybe the shock is that video isn't already well over half the current traffic?:
In an interview with Beet.TV, Cisco’s VP for Marketing and Emerging Technologies, David Hsieh, points out that “video is invading all aspects of our lives.” He says, “Today over half of all Internet traffic is video—51 percent. And based on the current trends, we predict that in the next three years over 90 percent of all Internet traffic will be video.”


Bloggie 3D - Extreme Sports | Sony | YouTube
A short video shot with the Sony Bloggie 3D camera. I just wonder how they did the titles; probably in Vegas?



GoPro Cineform Studio - Overview for DSLR-Users | Lucas Pfaff | Vimeo
Another tutorial demonstrating how to use GoPro Cineform Studio. It includes links to another tutorial which was posted last week by David Newman: GoPro CineForm Studio 1.1 demo

The new Cineform Studio Software is free and can be downloaded from: gopro.com/​3d-cineform-studio-software-download/​



5DtoRGB Batch - Rarevision | Mac App Store
An update to 5DtoRGB Batch, v1.5.5 is now available as an update in the Mac App Store. 1.5.5 fixes a number of things including:
  • Fixed issue where decoding matrix selection was ignored
  • Fixed issue where loading a default.glsl script in command-line mode caused a hang
  • Set default frame rate in command-line mode to 23.976
  • Fixed directory naming errors when outputting to DPX


Canon EOS-1D X hands-on | David Pierce | The Verge
This seems to just be a collection of pictures of the prototype camera, but if you haven't seen enough of the new Canon, you might want to take a look.



DIY – Macro Light Tent for Shooting Seamless | Chadwick Paul | Blog
How to make a simple light tent using a cardboard box and some white paper.



Geek Talk Between Matt Jeppsen and Tom Guilmette | DV.com
In this short video, Ron Dawson, Tom and Matt talk geek about the Sony PMW-F3, Zeiss lenses and XDCAM vs AVCHD.



Guest Post: 5 Tips for Running a Documentary Project | JL Aronson | KickStarter
JL Aronson funded his movie Last Summer at Coney Island through KickStarter, and offers his tips for success:
Take rewards seriously. It's easy to kid yourself into thinking that people will support your project because they really like you or because they believe in your project just as much as you do, but at the end of the day, they want stuff. Even if it's a sticker and an online thank you. Offer a reward for all levels and put some thought into it. At the same time, don't offer rewards that will wind up costing what people put in (e.g., the DVD that cost you $8 in materials for donors who give $10).


Sorenson updates Squeeze, debuts Squeeze 8 Lite | Jackie Dove | MacWorld
Sorenson release an update to Squeeze, along with a new budget version, Squeeze 8 Lite, targeted at the prosumer at $199 (Squeeze 8 is $599.)
Available for the first time, Sorenson Squeeze 8 Lite caters to the needs of a rapidly expanding market of web developers, videographers, and content creators focused primarily on online publishing in popular video formats such as Flash FLV, Flash SWF, MPEG-4, QuickTime, Windows Media, WMA, and WebM.


New Exchange Plug-in for CINEMA 4D and Adobe After Effects | Press Release
| Maxon
Maxon announced a new plug-in for Adobe After Effects CS5 and CS5.5 that exports projects directly into CINEMA 4D R13. It's free and available now here: Plug-Ins:
The CINEMA 4D export appears directly in the After Effects export menu and generates a .c4d file containing 3D layers, cameras, lights, solids, nulls and footage. Even nested compositions are supported. All major layer attributes including animations (rotation, position, parameter, anchor points, POI, etc.), expressions, layer parenting, layer locking and layer visibility are retained. Render and document settings in CINEMA 4D are adapted accordingly to the After Effects’ project settings.


Morgan Spurlock launches documentary sponsorship program to help filmmakers find ad dollars | Associated Press | Washington Post
Last week director Morgan Spurlock, in partnership with Grey New York, has announced Launch PAD, an initiative to help filmmakers find sponsorship and product placement deals with advertisers. They are working with five productions now, and plan to select more in the coming months.
Contact email addresses can be found on this page: DOCNYC: Announcing Launch PAD



Honoring a Legend | Ben Eckstein | Blog
A short film about Kip Tiernan, the founder of Rosie’s Place, Boston. Ben explains how he shot the video and affers an alternative technique for using still images:
I decided ahead of time to shoot on a seamless backdrop with the (likely) intention of making the interviews black and white. We shot with 2 Panasonic AF100s, so we could have a second angle (this has pretty much become the norm for me for shooting interviews now). They gave me a lot of photos and some archive footage of Kip that I could use as well. I decided that in lieu of the normal “pan and scan” approach to moving on the photos in post, I would film the photos instead. I often see this approach on ESPN and in some documentaries, and I think it’s a nice visual change from the “Ken Burns” effect.


A Goofy Movie - After Today Live IRL Amazing Shot-for-Shot Remake | Ted Sowards | YouTube
Two years ago some high-school kids got together and made this homage to "A Goofy Movie," a shot-for-shot live action recreation of a song from the movie. It's pretty amazing.

Then read this interview with Ted Sowards, the creative force behind the project: Animation World Network: Disney’s A Goofy Movie (or at least part of it) lives – Live! It explains how they made the movie, and includes a touching comment from the director of the original movie.
What I realized, and honestly hadn't even thought about, was that this little film I made had made an impression, that it had affected a generation of kids who were now expressing themselves. Wow... be careful what you give to the world, they are watching.
-Kevin Lima



Tuesday, November 01, 2011

Buying Software Online

I just bought the Adobe Production Premium Creative Suite (taking advantage of the 50% offer that ended yesterday!) and they gave me the option to download it, or get it delivered for $5.99 more. I chose the $5.99 physical disc option for a number of reasons:

  • I could wait the week they predicted it would take to deliver.
  • I still find the idea of having something physical somehow comforting.
  • I wasn't sure how much space I needed to be able to install it, and didn't want to be juggling things while in the middle of a download.
  • It predicted that the download would take 9 hours.

That last one was a killer, but it wasn't the only factor.

I've already bought software through Apple's Mac App store (and iOS apps through iTunes) so it's not like I'm entirely new to buying software online. However, the idea of downloading the whole suite just seemed like a potential for a nightmare. Couple that with the fact that it was unclear how the download worked; did it come as one big chunk or separate parts? could I download it again later if I had a problem or wanted to reinstall it? It wasn't immediately obvious how Adobe's system worked or what the answer was, and being in the middle of completing the transaction I took the easy way out.

Had it allowed me to download the individual parts as, and when, I wanted to - rather than download and install the whole thing at once - I think I would have gone for the download option. And the funny thing is, for all I know, Adobe might allow this; but it wasn't clear from the choices they gave me, how that all worked. So I wimped out.


Soon, we won't even have the option of getting physical dics. I might have to frame those discs, or store them away to show the grandchildren. I just hope my broadband speed has improved by then...

Quick Links

A Response to the Walter Murch SuperMeet Post | Chris Portal | Blog
Chris wrote up a lengthy report on the Boston SuperMeet the other day, which attracted quite a bit of attention - as did Walter's comments about Final Cut Pro X. Chris adds a bit more interpretation to those comments:
Walter Murch ponders where the “pro” is in FCPX? True, but this statement requires context. The comments he expressed with respect to feeling traumatized and confused, were all in the context of describing his reaction to the FCPX release in June. It was not made in the context of the September FCPX update. In fact, although he is still recovering from the shock everyone went through earlier in the year, he found the September release encouraging, despite FCPX still having a ways to go.
While Walter did say he was encouraged, it was clear that he still didn't think he could use FCPX as it stands. Chris notes that Walter was asked what he'd use if he was going to edit a movie now, and Walter gave an "it depends" answer which to me sounded like he'd use FCP7 if he could, or Avid or Premiere depending upon what the director etc, felt like. I didn't get the impression that he'd be using FCPX.



The second unofficial graphic enhanced manual is launched: Final Cut Pro X - The Details | FCP.Co
Edgar Rothermich has released another guidebook to Final Cut Pro X. At the moment it's available in electronic format only for $5.99



Sony Lays Out Roadmap for F3 Upgrades, Lenses | Bryant Frazer | StudioDaily
Sony has more details of future enhancements and products for the PMW-F3. There's two new zoom lenses, and a new version of S-LOG: S-LOG EI (Exposure Index) mode:
This is a version of the CINE EI mode originally developed for the F3's big brother, the F35. It allows an operator to step through exposure-index values, shifting the S-LOG gamma up or down to capture more detail in either the shadows or the highlights. The setting becomes especially useful because of the relatively low noise level of the F3's imager.
Odd that they have come out with a new version of S-LOG. I thought S-LOG was the digital negative... [Sorry. I had to say that, because Sony's use of digital negative as a marketing term for S-Log has been a pet peeve of mine!]



Z-Finder EVF Firmaware 2.0 | Support | Zacuto
Zacuto has released a firmware update for their EVF. v2 adds: 1080p support for 24, 24 and 30 fps, a Frame Store Feature, added Frame Box appearance to Frame Lines menu, along with several bug fixes and improvements.



Sorry Weblebrities. Traditional Media Has Ad Value Density. | Kevin Nalty
| WillVideoForFood
YouTube has announced several content deals with large companies and personalities. What does this mean for the current YouTube "Weblebrities"?
Nobody’s going to die quickly, but all signals suggest YouTube/Google is shifting its emphasis — from web originals and amateur “weblebrities” to celebrities and large content providers. Why? The latter has the potential of attracting people who aren’t using YouTube, and Google apparently believes it will have them coming back again (if they heed Louderback’s suggestion about creating content frequently).


Zacuto Indie Shoulder Rig Review by Mick Jones | Mick Jones | Zacuto
Not really a review so much as a collection of comments from Mick about the Indie Shoulder rig and other Zacuto gear he has used.
I’ve been shooting with Zacuto rigs for years now and I’ve recently been using the Zacuto Indie Kit for handheld work on cameras that weigh a little more than a DSLR, like the Sony FS100 and Panasonic AF100. I have used a modified Zacuto Fast Draw for quite some time and it was comfortable for DSLR work, but the larger cameras require a bit more stability.


Sony NEX-FS100 Q&A - Replacement top handle | Aaron Nanto | Vimeo
Another video from Aaron, this one on using the Berkey System NEX-FS100 Accessory Mounting Plate.



Canon Announcement Rumors Round Up. Final Thoughts | Jared Abrams
Wide Open Camera
Jared collects together the rumors he's heard about Canon's Thursday announcement, including:
* There will be at least two cameras announced, possibly three.
* PL and EF for sure. I also think a 5D3 will be “announced” but not shown.
* A Set of Canon Prime Lenses will be shown. All manual capability.*** This is Big.


What to expect from RED’s Nov 3 Scarlet Update? | Matthew Jeppsen | FreshDV
Don't forget that RED will make an announcement on Thursday too. What will we get; Unicorns?
RED has stated that the Nov 3 announcement will be related to Scarlet, that elusive unicorn of a camera that they’ve been tempting indies with for roughly three years now. Heck, maybe longer…I lose count when it comes to Scarlet du jour. Anyway, what’s interesting is that in the last week, with the fanboys in both camps whipped into a frothing, wide-eyed rumormill frenzy, RED’s Jim Jannard has been tempering expectations on the Reduser forums.


Avid Online Event Thursday, November 3, 2011 at 1 pm ET (10 am PT) | Avid
November 3rd seems to be turning into a very big day. Now Avid is having an online event where it's suspected they will talk about Avid Media Composer 6.




Monday, October 31, 2011

The end of the Mac Pro?

Just a couple of days ago there were reports that a Mac Pro update was being held up because of delays in Intel's Sandy Bridge E processors. Now comes reports that Apple is considering discontinuing the Mac Pro line. This, of course, just adds to the consternation surrounding the Final Cut Pro X debacle.

I guess we shouldn't really be surprised, given the success of the iPhone and iPad, and even of the MacBook Pro's and Air. Mac Pro's are probably a tiny fraction of Apple's business.

And full disclosure, I've been happily editing on a MacBook Pro for the past year and a half, and probably wouldn't buy a Mac Pro even if they brought out a new one, still...I can't help wondering what this would mean long term for the Mac in the creative community.

[And I just ordered the Mac version of the Adobe Production Premium Creative Suite too.]
Despite new CPU options, Apple reportedly questioning future of Mac Pro | Kasper Jade | AppleInsider
Another point reportedly raised during the discussions was that the advent of Apple's multi-use, high-speed Thunderbolt technology will ultimately allow other, more popular members of the Mac product family to assume the vast majority of the roles that once required the Mac Pro's and flexibility and architecture.


Apple mulling end of life for Mac Pro line, report says
| Josh Lowensohn | C|Net
During its fourth quarter earnings call, the company noted that sales were "fueled by the very strong growth of the MacBook Air, as well as the continued strong performance of the MacBook Pro." All told, those two portables accounted for 74 percent of the Mac sales for the quarter, with desktop sales being led not by the Mac Pro, but by Apple's iMac instead.

AppleInsider: ‘Apple Reportedly Questioning Future of Mac Pro’
| John Gruber | Daring Fireball
You don’t need a weatherman to know which way the wind blows.



Rule Learning Labs for November

Rule Boston Camera is hosting three Learning Labs and one evening Pub Night in November. RSVP to events@rule.com

Wednesday Nov 9 10am - 12noon
SMOOTH MOVES
Bob Jones of Camera Dynamics presents an overview of Sachtler, Vintent, and O'Connor fluid heads and tripods plus a look at the latest in LED lights from Litepanels and the newest camera bags and backpacks from Petrol Bags.


Wednesday Nov 16 10am - 12noon
COMPLETE HIGH-PERFORMANCE STUDIO SOLUTION
Sony introdcues the HXC-D70 2/3" CMOS studio camera system and the MCS-8M compact audio video switcher - perfect for the small entry-level studio set-up in terms of both design and budget.

Thursday Nov 17 Pub Night 6pm - 8pm
DOCUMENTARY EDITING WITH STEVE AUDETTE
Join award-winning documentary editor, Steve Audette as he shares his personal thoughts and inspiration throughout the creative process of editing documentaries for broadcast.

Wednesday Nov 30 10am - 12noon
HOLIDAY STOCKING STUFFERS
Rule's Tom Talbot provides an overview of the latest products (wireless mics, various lenses, editing software, expendables & more) - just in time for holiday shopping



Adobe

Quick Links

*UPDATE* The “Historic” November 3, 2011 Announcement [CR1] | CanonRumors
The date of Canon's announcement is approaching, and the rumors seem to remain that there will be two cameras, EF and PL mount, prices around $10,000. It's now thought it will have 4K capture, but 2K output. A few other details are listed...



Drake Doremus' 8 Rules for Making Indie Film | Steve Pons | The Wrap
Indie filmmaker Drake Doremus ("Spooner," "Douchebag" and now "Like Crazy,") likes to work fast, and offers his tips on being a success:
3. IT'S ABOUT WHAT THE CHARACTERS WANT, NOT WHAT THEY SAY
Doremus's working process starts not with a traditional script, but with what is essentially a piece of prose – in the case of "Like Crazy," one about 80 pages long.


Sony NEX-FS100 Q&A - Does the touchscreen work with an external monitor attached? | Aaron Nanto | Vimeo
In this short video, Aaron proves that the touchscreen on the NEX-FS100 does work when an external monitor is attached.



My First Solo Book: VISUAL STORIES | Vincent Laforet | Blog
Still photographer and now cinematographer VIncent Laforet has his first solo book coming out soon {November 24th] Visual Stories: Behind the Lens with Vincent Laforet (Voices That Matter) While it's about his still photography, he writes about the process behind making the photograph, much of which could apply to video:
I wanted to write a book that included the details that I loved to read when reading other photographers’ books. I found that while I loved to know what lens they’d used to make some of my favorite photographs, I was more fascinated with how they got to making that photograph, the thought process and stories behind them (or luck) and what they thought of those photographs after the fact. Those stories always fascinated me most.
Meanwhile, there are rumors Vincent has been out shooting with the new Canon video camera to be announced November 3rd.



A Light Wall Of Light From Bed Sheets And PVC | David Dicarlo | DIY Photography
How to build a monster soft-box out of PVC pipe, a couple of lights and three king-size sheets. Could be useful for video...(I love making things out of PVC pipe; it's about the only construction material I seem to have mastered!)



History of Video Now and Then | Jennifer O'Rourke | Videomaker
A short history of video (starting at 1986, when Videomaker started publishing.)
When Videomaker magazine first hit the newstands in 1986, video cameras were just beginning to make a foothold in consumer’s homes. Our first few issues were full of stories about those darn “Format Wars” – Beta vs. VHS, remember that concern? In fact Beta versus VHS was so prevalent at the time that we devoted full issues to each format, along with VHS-C and 8mm. Although each format was very different, they all shot video using the same physical recording device: videotape.


REVIEW: Automatic Duck Pro Import and Export | HD Magazine
I reported over the weekend that the Automatic Duck plug-in is now free. Here's a review if you want to know what you're getting into!



Recording of live presentation for MacVideo.TV “The right camera for the right job…” BOTH PARTS NOW LIVE! | Philip Bloom | Blog
The second part of the video of Philip's recent talk about choosing a video camera has now been posted.



Use Dynamic Link to bring Warp Stabilizer to Premiere Pro CS5.5 | Mark Christiansen | ProVideoCoalition
How to use After Effects Warp Stabilizer on footage in Premiere Pro:
For editors and shooters who work more in Premiere Pro than in AE, this is clearly a case where Dynamic Link, the technology bridge between the two apps, is useful. Warp Stabilizer isn’t part of Pr, and it is relatively straightforward for basic usage even for the casual AE user. This article not only walks you through how to achieve shot stabilization on clips in a Pr edit, but it opens the door to how to use Dynamic Link generally, for those who’ve wished they had a better handle on it.


The $800 100mm VariZoom VZ-FH100 Fluid Head Tripod | Cinescopophilia
A new tripod from VariZoom.
VariZoom’s new professional 100mm fluid head offers excellent performance and value in an attractive, durable package. With variable drag settings for both pan and tilt, as well as an adjustable counterbalance setting, the FH100 handles cameras up to 22 lbs easily. Available separately or as a kit with one of our four 100mm tripod models.


For Home Entertainment Releases, a Rare Bright Spot | Michael Cieply
| New York Times
Seems that sales of Bluray discs have picked up a bit:
In part, the increase reflects a surge in Blu-ray sales, which are expected to reach $1.23 billion for the first three quarters, up from about $1 billion for the same period a year earlier. That puts them on a par with video store rentals, which have been falling, and on-demand revenue, which has grown more slowly.



Sunday, October 30, 2011

Quick Links

Free E-Seminar: Mastering the Adobe Premiere Pro Timeline Panel
| Richard Harrington | Adobe
Richard Harrington is giving a free seminar on Adobe Premiere Pro this Thursday, November 3rd, 10:00 am PT/1pm ET:
The timeline panel in Adobe Premiere Pro is where the story comes together. Sure there's standard operations like Insert and Overwrite as well as the ability to Ripple and Roll. But once you dig in, you'll find much more. In this session you'll learn both essential operations and advanced features like replace edit, creating custom transitions, and using Adobe Dynamic Link to exchange files with Adobe After Effects and Audition. The class is taught by Richard Harrington of RHED Pixel.


Avid Announces Results for Third Quarter 2011 | Avid
Avid announced results, and suffered another loss:
"The GAAP net loss for the third quarter was $8.0 million, or $0.21 per share, compared to a GAAP net loss of $10.0 million, or $0.26 per share, in the third quarter of 2010. [...]

The third quarter results showed sequential improvement in revenue and profit,” said Gary Greenfield, chairman and CEO of Avid. “We continue our sharp focus on providing our customers with the products and solutions that help them succeed. In addition, we have taken actions which should accelerate improvement in our financial performance.”
Despite the reported increase in sales due to the discounts they offered after the Final Cut Pro X debacle, this hasn't been enough to prevent Avid from laying off 200 staff.

This development may prompt some to reconsider their FCP alternatives: YIKES! AVID LETS 200 PEOPLE GO | 20K Films



Filmmaking Trick or Filmmaking Treat? | MasteringFilm
Enter to win a copy of The Filmmaker's Book of the Dead: How to Make Your Own Heart-Racing Horror Movie. You have to add a comment to the thread to be entered to win. You must enter by 12:01 am EST November 1, 2011.



Scarlet preview... | REDUser | Forum
Canon will be making an announcement on November 3rd, and so will RED. It appears to be the long awaited Scarlet. Lots of wild hints are being dropped at the REDUser forum...



Update: Sony 18-252 mm Zoom | Jon Fauer | Film & Digital Times
I highlighted this story yesterday, but it's since been updated with more pictures and information on the zoom lens coming for the Sony PMW-F3.



iPhone cinema - exposed! | untitled films - Abraham Joffe | Vimeo
Making fun of the iPhone as a tool for professional shooting. It's funny this year, but in another five years, who knows what the camera in your phone will be able to do...



Google TV: Second time's the charm? | Harry McCracken | C|Net
Google has taken another crack at GoogleTV, making it simpler and refining their message:
In short, Google's now-more-clearly-articulated goal of melding conventional TV with the Web rather than rendering TV as we knew it obsolete makes sense. It may not change everything, but you know what? No other living-room Internet product has changed everything either, including Apple TV. And Google says there will be some all-new devices based on its platform next year, which means that this update is less Google TV 2.0 than it is Google TV 1.5.


[TaoColorist] Sunday Morning Reading (All-Hallows-Even Edition) | Patrick Inhofer | Blog
Patrick's weekly round-up of things related to color grading - and other film related articles and reports - is always worth catching.



50% Off on Adobe Premiere & Production Creative Suite ends tomorrow!

If you haen't already taken advantage of this offer, you only have until Halloween to get it!

Adobe's 50% off Adobe Creative Suite CS5.5 Production Premium [$849.50 instead of $1,699] or Adobe Premiere Pro CS5.5 [$399.50 instead of $799] offer for Final Cut Pro and Avid Media Composer Users ends October 31st.

Creative Suite 5.5 Production Premium - License [Add the Full version to the cart, then in the cart, click on the "Click here to enter a promo code." text just below the details and enter "SWITCH" and the discount is applied]