A tutorial for DaVinci Resolve; though I think you'll need to know Resolve to follow along:
Colorist Chris Hall demonstrates a "Bleach Bypass" effect on a period Western film. Special thanks to DP Andrew Russo (awrusso.com/) for the great photography!
Fixing A little “Got-cha!” in the LightWorks to Premiere Finishing Workflow
| Peter J. Haas | aBlogAbout.Haas
Peter is using an interesting workflow from Lightworks to Premiere:
I’m currently cutting a feature documentary in EditShare’s latest Pro version of LightWorks, and we’re very interested in revisiting this workflow for finishing. We were running some tests yesterday and noticed a interesting little bug in the workflow we hadn’t noticed before.
After a successful import of the AAF sequence into Premiere, the media relinking kept returning an error for files we knew matched. It didn’t seem to be an issue with the AAF, as some of the media seemed to relink just fine.
FAST DSLR POST WORKFLOW: INGEST TO OUTPUT | Casey Faris
| rampant design tools
Workflow for Final Cut Pro and Premiere:
If we don’t have time to wait for proxies. (Usually we can let them convert overnight, and be ready for the next day.) Then we just copy the H264 files and edit them natively in Adobe Premiere CS6, It’s just a little harder on our older systems.
Rokinon 8mm Cine Lens Review | Caleb Pike | Vimeo
It seems that even the budget lens makers are bringing out a lot of Cine lenses:
I have had the Rokinon 8mm Cine lens with the Canon mount for a month now, and I have to say I really like it. It is such a fun lens. Composing shots has never been as entertaining. At first use I thought 8mm is almost too wide to be useful, but after taking the lens downtown and shooting a good deal with it, I really think there is a place for this lens in my bag.
Samyang announces T1.5 35mm, T1.5 24mm and T3.1 14mm VDSLR lenses
| PhotoRumors
And heres more (Samyang actually makes many of the Rokinon lenses) The Samyang 35mm T1.5 is already available for pre-order under the Rokinon brand for $549:
The construction of the new lenses has been based on previous types dedicated for photography. Their main feature are racks co-operating with follow – focus system, and a ring rotated continuously. Thanks to these alterations it is possible to precisely and silently operate focus and depth of field. Another facility is putting aperture and focus scale parallel to the axis of the lens and aperture marked with number of transmission T. Lenses are compatible with Nikon and Canon cameras.
Realistic Bounce and Overshoot | Dan Ebberts | MotionScript.com
Scripting with After Effects:
In this article you've seen the difference between overshoot and bounce simulations. Hopefully that will help you in choosing the appropriate simulation for your own animations. You've also seen how to ensure that your overshoot simulations match up with your incoming animation.
Digital Convergence Episode 85: The 7D v2.0 | Digital Film TV
Latest version of this podcast:
The lead story from the planet5d.com newsroom is Canon’s release of the version 2.0 firmware update for the Canon EOS 7D. planetMitch explains what is in this update and what it means for photographers and videographers. As usual we go on a tangent on the value of having malleable hardware – hardware that can be updated with new features with just a software update. We talk, too, about the Blackmagic Design Cinema Camara – can it be rightly called a “baby Arri?”
Featured Filmmaker ~ Rodney Charters | Shirley Baugher | Zacuto
A profile and interview with cinematographer Rodney Charters:
A. While shooting “24”, I began experimenting with a video camera. I shot a scene with a traditional movie camera; then I shot the same scene with a video camera to see the difference.
Q. What were the results of the experiment?
A. Actually, I was blown away by the sound and lighting capabilities of video. I thought the video camera did a brilliant job of capturing the motion picture image; and I was impressed with the mobility and versatility of the equipment. I was able to do a scene and immediately go back and look at what I’d shot. That’s a big advantage for a cinematographer
FMX Action Caught By Adixxion | JVC | Facebook
Sample video shot with JVC's action camera the GC-XA1 Adixxion {$349]:
More action captured by our Adixxion action cam! This time it's of freestyle motocross (FMX) rider Derek Garland.
Why Packaging Your Film Means Writing for Your Audience (and Why the First 10 Pages Matter So Much) | Christopher Boone | No Film School
Comments on a recent WGAw educational panel:
As many of us here consider ourselves DIY filmmakers, the thought of packaging our scripts with talent may not cross our minds frequently. Yet, even for the most independent project, we need an audience. As writers, we need to write for our audience. By this, I don’t mean we should pander to the audience or write what the audience expects.
Order Up | Red Giant | Vimeo
A year ago Red Giant and director Seth Worley produced an amazingly inventive video called Plot Device. Now they are back with another short:
Order Up from Red Giant on Vimeo.
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