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What to do if your highlights look clipped. FS700 in particular, but applies to many cameras | Alister Chapman | XDCAM User
The first is that in the majority of setting the FS700 like most pro video cameras (EX, F3 etc included) records up to 109% (data bits 16 to 255). In the video world white is bit 235 (940 in 10 bit) or 100% and this is supposed to be your maximum with 104% typically allowed for broadcast. Anything above white is known as a superwhite.
Why isn’t the PMW-200 as sensitive as an F3 or FS100?
Pixel size is the primary thing that determines the signal to noise ratio of the camera. Cameras like the FS100,F3, C300 and GH2 etc have big sensors with big pixels, that’s why they have low noise. That’s why 1/3″ cameras don’t do as well as half inch and half inch doesn’t do as well as 2/3″ and so on.
Mountain Lion and Premiere CS6… DO IT!
Wow, I wish I had done this earlier. What a difference. Clips play back smoothly, the system is more responsive and so far it has not yet crashed. So if your using Premiere CS6 and you are having issues I recommend you upgrade to Mountain Lion.
Muzzle flashes in After Effects | Rich Young | ProVideoCoalition
A list of resources for creating gun muzzle effects:
Muzzle flashes and other gun effects have been popular topics. Muzzle flashes by themselves are useless—you need the flash, smoke, a shell, a gun, bullet hits, audio, and more.
Here’s a few resources to help you put together something believable.
The RAW Timelapse Tutorial – Kit Breakdown | Preston Kanak | 3 Minute Shorts
You will also want to make sure you keep your lenses and sensors clean. I don’t know how many time-lapses I have ruined from not having a clean sensor or lens. Take ten minutes after each shoot to make sure your gear is clean. It will help with the longevity of your gear. I use sensor cleaners, lens wipes, lens clothes and a puffer to keep things clean. I will show you in a later video how I clean my camera after a shoot.
DaVinci Resolve - DaVinci Resolve Setting Exposure | Denver Riddle | YouTube
A tutorial for Resolve:
In this video tutorial I share with you how to set the proper exposure in DaVinci Resolve.
TOTAL RECALL: REAL HOVER CARS | Watch The Daily | YouTube
Behind-the-scenes on how they created the hover cars in the new movie:
The awesome hover car chase sequences from Total Recall was built by the wizards at Double Negative using real cars and incredible background CG cityscapes. In this exclusive video from The Daily and fxguide, watch how the final shots for the film were created.
DIRECTOR TONY GILROY ON CREATING ACTION SCENES THE “BOURNE” WAY
| JOE BERKOWITZ | Fast Company
When you’re writing on spec, you write a lot of action that needs to be exciting to the person reading it, but in a sense it’s abstract until the rubber meets the road and you’re really doing it. By the time we get there, these scenes are more than written. Sometimes they’re storyboarded, sometimes we videotape sequences of them with stand-ins. It’s very practical. It’s hard to say between writing and designing—where one stops and the other takes off.
Finally, an amazing dolphin video shot using a GoPro Hero in a home-made "torpedo"
The Blue from Mark Peters on Vimeo.
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